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NEW H O R I

IN AMERICA

1985 EXXON
NATIONAL EXHIB

Solomon R. Guggenheim
Museum Library

NEW HORIZONS
IN AMERICAN ART

1985 EXXON

NATIONAL EXHIBITION

by Lisa Dennison

This exhibition is sponsored by
Exxon Corporation

Solomon R. Guggenheim Museum, New York

Library of Congress Cataloging-in-Publication Data

Dennison, Lisa.
New horizons in American art.

Sponsored by Exxon Corporation and held at the
Solomon R. Guggenheim Museum, New York.

Includes bibliographies.

1. Art, American— Exhibitions. 2. Art, Modern— 20th
century— United States— Exhibitions. 3. Exxon
Corporation— Art patronage— Exhibitions. I. Exxon
Corporation. II. Solomon R. Guggenheim Museum.
III. Title.

N6512.D38 1985 709'.73'07401471 85-14376
ISBN 0-89207-050-1

Published by The Solomon R. Guggenheim Foundation,
New York, 1985

ADVISORY BOARD

STAFF

The Solomon R. Guggenheim Foundation

HONORARY TRUSTEES IN PERPETUITY

Solomon R, Guggenheim, Justin K. Thannhauser, Peggy Guggenheim

PRESIDENT Peter Lawson-Johnston

VICE PRESIDENT The Right Honorable Earl Castle Stewart

Elaine Dannheisser. Michel David-Weill, Carlo De Benedetti, Joseph W Donner, Robin Chandler Duke, Robert M.
Gardiner, John S Hilson, Harold W. McGraw, Jr , Wendy L-J McNeil, Thomas M, Messer, Bonnie Ward Simon,
Seymour Slive, Stephen C, Swid. Michael F Wettach. William T. Ylvlsaker

Donald M Blinken. Barrie M. Damson, Donald M. Feuerstein, Linda LeRoy Janklow, Seymour M, Klein, Denise Saul,
Hannelore Schulhot

secretary-treasurer Theodore G Dunker

Aili Pontynen, Assistant Secretary; Joy N. Fearon, Assistant Treasurer

DIRECTOR Thomas M Messer

STAFF

LIFE MEMBERS

INSTITUTIONAL PATRONS

Solomon R. Guggenheim Museum

deputy director Diane Waldman
ADMINISTRATOR William M Jackson

Vivian Endicott Barnett, Curator; Lisa Dennison, Susan B, Hirschfeld, Assistant Curators; Carol Fuerstein, Editor;
Sonja Bay, Librarian; Ward Jackson, Archivist; Diana Murphy, Editorial Coordinator; Susan Hapgood, Nancy Spector,
Curatorial Assistants
Louise Averill Svendsen, Curator Emeritus

Cherie A Summers. Registrar; Jane Rubin, Associate Registrar; Kathleen M, Hill, Assistant Registrar; Stephanie
Stitt, Registrar's Coordinator; Saul Fuerstein, Preparator; William Smith, David M Veater, Ani Gonzalez Rivera, Prep-
aration Assistants; Hubbard Toombs, Technical Services Coordinator; Leni Potoff, Associate Conservator; Gillian
McMillan, Assistant Conservator; Elizabeth Estabrook, Conservation Coordinator; Scott A Wixon, Operations Man-
ager; Tony Moore, Assistant Operations Manager; Takayuki Amano, Head Carpenter; David M. Heald, Photographer;
Myles Aronowitz. Assistant Photographer

Mimi Poser, Officer for Development and Public Affairs; Carolyn Porcelli, Development Associate; Richard Pierce,
Public Affairs Associate; Elizabeth K. Lawson, Membership Associate; Shannon Wilkinson, Public Affairs Coordina-
tor; Linda Gering, Special Events Coordinator, Ann D. Garrison, Development Coordinator; Amy Sephora Pater,
Public Affairs Assistant

Agnes R- Connolly, Auditor; Judy A Ornstein, Accounting Assistant; Stefanie Levinson, Sales Manager, Robert
Turner, Manager, Cafe and Catering; Maria Masciotti, Assistant Cafe Manager; Fred Lee, Assistant Cafe Manager-
Kitchen Preparation; Robert S. Flotz, Chief of Security; Elbio Almiron, Mane Bradley, Carlos Rosado, Assistant Secu-
rity Supervisors

Ann Kraft, Executive Coordinator; Jill Snyder, Administrative Assistant; Faith R Schornick, Assistant to the
Administrator

Jean K. Benjamin, Mr and Mrs. B. Gerald Cantor, Eleanor, Countess Castle Stewart, Mr. and Mrs. Barrie M. Damson,
Mr. and Mrs Werner Dannheisser, William C. Edwards, Jr , Donald M Feuerstein and Jacqueline Dryfoos, Mr. and
Mrs Andrew P. Fuller, Agnes Gund, Susan Morse Hilles, Mr. and Mrs. Morton L Janklow. Mr. and Mrs. Donald L.
Jonas, Mr and Mrs Peter Lawson-Johnston, Mr and Mrs Alexander Liberman, Mr and Mrs Irving Moskovitz, Mr.
and Mrs Robert E. Mnuchin, Elizabeth Hastings Peterfreund. Mrs. Samuel I Rosenman, Clifford Ross, Mr. and Mrs
Andrew M. Saul, Mr and Mrs. Rudolph B Schulhof. Mrs Evelyn Sharp, Mrs Leo Simon, Mr and Mrs Stephen A.
Simon, Sidney Singer, Jr, Mr and Mrs. Stephen C. Swid, Mrs. Hilde Thannhauser, Mr. and Mrs Stephen S.
Weisglass, Mr and Mrs. Philip Zierler

Alcoa Foundation, Atlantic Richfield Foundation, Exxon Corporation. Robert Wood Johnson Jr. Charitable Trust, Knoll
International, The Kresge Foundation, Robert Lehman Foundation. The Andrew Mellon Foundation, Mobil Corpora-
tion, Philip Morris Incorporated, United Technologies Corporation

Institute of Museum Services, National Endowment for the Arts, National Endowment for the Humanities, New York
State Council on the Arts

LENDERS TO THE EXHIBITION

Phoebe Adams

Caroline and Stephen Adler, New York

Adler-Frasca, New York

Robert Arneson and Sandra Shannonhouse

Mrs. Joseph Ascher, New York

Chase Manhattan Bank, New York

Chemical Bank, New York

Douglas S. Cramer, Los Angeles

Mary Sharp Cronson, New York

Linda and Ronald F. Daitz, New York

Dannheisser Foundation

Mr. and Mrs. Gilbert M. Davidson, Clifton, New Jersey

David Deutsch, New York

Betsy and Mike Dingman

Alan Dinsfriend, Boston

Richard Ekstract, New York

M. Etcheverry, San Francisco

Robert A. Hauslohner

Sari and Jerry Joseph

Tobi Kahn

Mark Kloth

Mr. and Mrs. Franklin Konigsberg, Los Angeles

Rex Lau

Christian McGeachy, New York

Mr. and Mrs. Raymond D. Nasher

Manuel and Kate Neri, Benicia, California

Meg Perlman and Doug Garr, New York

Irene Pijoan

David P. Robinson

Margarete Schultz, New York

Jack and Connie Tilton, New York

Laila and Thurston Twigg-Smith

Stephen and Anne Walrod

Solomon R. Guggenheim Museum, New York

The Metropolitan Museum of Art, New York

The Pennsylvania Academy of the Fine Arts,
Philadelphia

Roswell Museum and Art Center, New Mexico

Walker Art Center, Minneapolis

Grace Borgenicht Gallery, New York
CDS Gallery, New York
Dolan/Maxwell Gallery, Philadelphia
Lawrence Oliver Gallery, Philadelphia
PPO-W, New York

Rena Bransten Quay Gallery, San Francisco
Ruth Siegel Ltd., New York
Althea Viafora Gallery, New York

TABLE OF CONTENTS

Preface and Acknowledgements

Thomas M. Messer

Acknowledgements

Lisa Dennison

New Horizons in American Art

Lisa Dennison

Phoebe Adams

Anthony-Peter Gorny

Mark Innerst

Tobi Kahn

Mark Kloth

Rex Lau

Joan Nelson

Jim Peters

108

Irene Pijoan

119

Photographic Credits

PREFACE AND
ACKNOWLEDGEMENTS

Young talent shows, on both national and international levels, have been sporadically re-
curring components of the Guggenheim's exhibition schedule ever since the 1950s. But not
until Exxon assured their financial basis in 1978 did they become annual events. New
Horizons in American Art: 1985 Exxon National Exhibition thus follows within an established
sequence of periodic assessments in which special attention, alternately focused on the
American and foreign cultural theaters, is given to the work of artists young in years or at
least in reputation. Current production is thereby presented to museum visitors and, by way
of the accompanying catalogues, to a still wider public interested in extending the radius of
their awareness of contemporary painting and sculpture. Young American Artists (1978),
79 Artists: Emergent Americans (1981) and New Perspectives in American Art (1983),
punctuated during alternate years by selections of current British, Italian and Australian art,
constitute the broad view of new talent that the Exxon contributions have opened up for the
Guggenheim and its audience during the better part of the past decade.

Every one of the four American exhibitions, including New Horizons in American Art, has
displayed its own distinct character, if only because each was entrusted to a different curator
in order to encourage changing viewpoints within an existing institutional continuity. None-
theless, certain attributes were common to all four shows. Invariably, the search that even-
tually resulted in a highly condensed selection required a concentrated curatorial effort: the
sifting of hundreds of slides provided the basis for repeated visits to scores of studios, after
which the final decisions could at last be made. Invariably also, the search itself, which
necessarily yielded many more rejections than acceptances, encouraged the artists whether
or not they were ultimately included, and simultaneously provided the Museum and its
curatorial staff with firsthand information not otherwise obtainable. With respect to the final
result, the media more often than not have found much to argue with, frequently seeking
in these personal choices a representation of the Museum's ideological position that was
not in the organizers' minds. It has been important to us, on the other hand, to assure for
the Museum's permanent collection a number of annual purchases that would in time take
their place among the valued holdings in the area of contemporary art. The Exxon grants,
supplemented by help from other Guggenheim benefactors, have made such acquisitions
possible, and we here express our sincere thanks for this aid. And this year there is again
much to be grateful for to Exxon for its renewed support of this particular aspect of the
Museum's activity.

Lisa Dennison, who selected the nine artists represented in New Horizons in American
Art, is following in the footsteps of others who, whether as members of the Guggenheim's
curatorial staff or as guest curators with temporary missions, have previously carried out
analogous tasks. It is a pleasure to acknowledge her efforts herewith and to thank those
various staff members, singled out in Miss Dennison's prefatory remarks, who provided her
with the necessary advice and assistance.

Thomas M. Messer, Director

The Solomon R. Guggenheim Foundation

ACKNOWLEDGEMENTS

There are many individuals whose support and cooperation were essential to the realization
of this exhibition First and foremost, I am deeply grateful to Diane Waldman, Deputy Di-
rector, whose guidance and generous assistance on every phase of this project were in-
dispensable, and whose past Exxon National and International Exhibitions have served as
inspiring models for me. I would like to thank the numerous staff members of the Guggen-
heim Museum for their diligent efforts on the occasion of this show, in particular Lisa Yokana,
who worked closely and enthusiastically with me on all aspects of the exhibition and cat-
alogue; Diana Murphy, Editorial Coordinator, for her very thoughtful editing of the catalogue;
Carol Fuerstem, Editor, for her essential collaboration on the publication; and Stephanie
Stitt, Registrar's Coordinator, for assembling the show.

Among the many individuals throughout the country who offered insight and assistance,
I wish to acknowledge Stephanie Barron, Graham Beale, Julia Brown, Annette DiMeo Car-
lozzi, Judith Dunham, Howard Fox, Marge Goldwater, Sue Graze, Mary Jane Jacobs, Jane
Livingston, Marti Mayo, Eric McCready, Robert Murdock, Jock Reynolds, Phyllis Rosen-
zweig and Karen Tsujimoto. Sincere thanks are extended to the many gallery dealers who
were extremely helpful, including Rena Bransten, Margo Dolan, Lawrence Mangel, Kurt
Marcus, Wendy Olsoff, Ann Philbm, Penny Pilkmgton, Ruth Siegel, Clara Diament Sujo,
Althea Viafora and Michael Walls.

I would also like to express my appreciation to the public and private collectors who so
graciously lent to the exhibition. And finally, I add a special note of gratitude to the artists,
whose enthusiasm and commitment have made the experience of this exhibition such a
genuinely pleasurable one for me.

L.D.

NEW HORIZONS IN AMERICAN ART

by Lisa Dennison

Across the nation, there is a resurgence of pride in America. The feelings of pride and the
prosperity enjoyed by large segments of the population quite naturally touch many aspects
of contemporary culture, and indeed nourish our performing arts, popular music, film, lit-
erature and architecture. As the second half of the decade begins, the younger American
artist, like the general public, seems to be motivated by a strong sense of national identity.
And this sense of identity is in turn encouraging painters and sculptors to reconsider our
national artistic heritage.

The artist population is growing, stimulated by a greatly expanded art audience and a
booming art market which have focused more attention on museums, galleries and auction
houses than ever before. Nowhere is the support structure for emerging artists as strong
as in New York. Galleries are opening at a record pace, in particular in the East Village,
where, despite the shortcomings of small spaces and a sometimes disconcerting emphasis
on fashion, there are now many new opportunities for artists to exhibit their work. The
ramifications are both positive and negative: positive in that much of the work is very fresh
and exciting; negative because artists are often showing before they have had time to
develop a resolved body of work. Today's standards of success, fostered by an exaggerated
star system at the top of the younger artist population, have created a complex set of
expectations and pressures that surround the emerging artist. Indeed, in her controversial
book Has Modernism Failed?, Suzi Gablik denounces " . . .an art world transformed beyond
recognition by material prosperity." She claims that "success and security now play such
a central role in the American imagination, the inducements of a conformist society are
proving so great, that even artists have learned to strive along an imposed scale of careerist
values, mapping out their lives like military strategists ..." and pleads for an art that can
"reconstitute the moral will."'

Despite the competitiveness and emphasis on achievement encountered in the current
New York art world, the city nonetheless offers young artists a great number of opportunities
for attaining recognition and exposure to the most avant-garde aesthetics. It is not surprising,
therefore, that in recent years there has been a renewed influx of artists to this city, each
of whom imports a bit of the spirit of his or her previous milieu. Though this exhibition, for
example, appears to boast five New Yorkers, only two are natives; the other three, originating
in California, Minnesota and Pennsylvania, and often making lengthy stops along the way,
arrived here in 1981 and 1982.

A wide variety of aesthetic attitudes has prevailed throughout the first half of the eighties.
Yet the dominant style, Neo-Expressionism, is on the wane. Coming into sharper focus now
are other forms of expression: among these, figuration, historicism, appropriation, religious
imagery, abstraction and landscape painting all engage the attention of today's painters
and sculptors.

The figure, the primary vehicle of Neo-Expressionist painting, continues to be a powerful
force, sustained by an apparently insatiable appetite for narrative content in art. It is used,
however, in a wider range of contexts to convey meaning, to portray extremes of human

emotion and to comment upon broad areas of contemporary culture. There has also been
a shift from the personal mythologizmg and intense subjectivity of Neo-Expressionist paint-
ing to a more politically and socially oriented art that maintains a dialogue between the artist
and the powerful exterior forces that determine contemporary existence. The potent issues
addressed range from sexuality to advanced technology to the threat of nuclear annihilation.
Such an engagement with so many aspects of society has encouraged a style of "appro-
priation," whereby both the images and image-making strategies draw directly from their
sources in art history, popular culture and mass media. This idiom has a strong appeal for
artists who reject what they consider a frustrating quest for originality. Today, appropriated
imagery is more topical, more contextual than Pop Art and lacks the irony and wit that is
an important aspect of the commentary made by that movement of the sixties.

Side by side with a focus on contemporary concerns, artists express their desire to
establish links between the past and the present and to raise psychological and spiritual
issues. Consequently there is now a new historicizing tendency that has produced a broad
crop of "neo-isms" since Neo-Expressionism emerged, including Primitivism, Mannerism,
Romanticism and Surrealism. Unlike the direct borrowings or blatant quotations of appro-
priation, the spirit of past styles is infused into the new art form, rather than copied from it.

Religious imagery and iconography have also invaded much of contemporary art. Altar-
pieces, reliquaries, shrines, icons and panel paintings have provided new formats which,
when either simple and unadorned or encrusted with glitzy materials, can be intensely brutal
or highly precious. Subject matter, from crosses and crucifixions to saints and angels,
reinforces the religious connotations of much work today. Yet one wonders if there is indeed
a compelling religious motivation for contemporary art. It is Gablik's belief that "... the
essential inner attitude is missing — the devotional frame of mind. In addressing this issue,
of the way signs of ultimate meaning have been devalued by our culture to objects of
transitory and commercial interest. . . . that we are really addressing a much larger theme:
the failure, in our secularized age, of the moral and religious impulse. . . . "2 Whether or not
the author is right in doubting the sincerity of religious symbols and iconography in current
art, there definitely is a renewed quest for the expression of spirituality in all genres. Fig-
uration, landscape and abstraction are vehicles today, as they have been throughout history,
to express this condition. What is unique now is the increasingly urgent desire to convey
spirituality in such a variety of contexts.

Currently, abstraction is steadfastly and intelligently holding its own amidst the barrage
of figuration, with the organic mode prevailing over the geometric. Despite the stylistic
diversity within abstraction, there are some common traits that lend a new vitality to the
genre. Small scale, which can impart a concentrated density, impact and energy to the
work, is gaining currency among both abstract and representational artists. The Utopian
vision and reductive modes of the abstract painters and sculptors who emerged in the mid-
sixties have inspired succeeding generations. However, in keeping with a general trend in
today's art, younger artists are emphasizing more narrative content in abstraction. They are

stressing a connection with the real world and are extending allusions, symbols and references.

Painting is the medium of the moment. Though many artists are working in sculptural
idioms, there is a preponderance of work that is either wall-related or installation-oriented
or that incorporates both painting and sculpture and can thus be defined as neither. However,
painting itself is becoming more sculptural, more object-like. As the scale of much painting
becomes smaller, artists more frequently frame their works, thus enhancing their object-
like quality. Additionally, artists are turning to less traditional materials and using encaustics,
plaster and collage elements to build out the surfaces of the paintings to the point where
some become high reliefs. For many artists, paint on canvas is no longer enough; their
forays into more sculptural concerns have encouraged them to work freely in both mediums.

There is one particular tendency in contemporary American art that deserves to be high-
lighted. Landscape painting is gaining momentum from coast to coast, and it is worthwhile
to examine some of the possible causes behind this phenomenon. In general, traditions
and values that are deep rooted in American society and culture have gained new relevance
for today's artists. Their attitude is an outgrowth not only of the new positive spirit and sense
of confidence in America, but perhaps also of the conservative political climate of the past
five years. It may be propelled as well by the precedent set by the younger generation of
European artists that came to our attention in the late seventies and early eighties: the
Italian Transavanguardia and the German Neo-Expressionists draw much of their inspiration
from the past. For the Italians, their cultural and artistic heritage is inextricably wedded to
the present; it is an inescapable part of the environment and education of the artist. As
Diane Waldman wrote in the introduction to the catalogue for the 1982 Exxon exhibition
/fa//ar? Art Now: An American Perspective, "The recovery of myth, the symbolic meaning
in performance ... the renewed preoccupation with alchemy are fundamental to even the
sparest form of expression in recent Italian art. These concerns, deep rooted in the Italian
heritage and imagination, are neither integral to our [American] culture nor germane to our
history and, thus, are not central to our art."3 The concerns of the German Neo-Expres-
sionists are also grounded in their past — in art, culture, mythology, history and politics,
and the way that history in particular is transmitted and interpreted.

Because myth and allegory, which have nourished so much European art, are not a part
of the heritage of the American artist, the myths and symbols in much of our Neo-Expres-
sionist painting become so disconnected from their sources that the meanings of the works
themselves are drained of their power. Many artists are now seeking to substitute for sym-
bolism a more concrete and tangible reality. What sort of inspiration, then, can American
artists derive from the past? America's history is about its frontier, its enormous land. Its
monuments are its natural wonders — the Grand Canyon, Niagara Falls, the Great Lakes,
the vast forests, mountain ranges, prairies and deserts. Turning to the past or facing the
present, the prominence of our landscape is inescapable.

In the nineteenth century, this immense horizon became the horizon of American art;
landscape painting was the major innovation of that period. Through a portrayal of the

vastness and grandeur, the isolated, moody and often lonely aspects of nature, landscape
painting addressed spiritual ideas. It became the prime outlet for a romantic sensibility,
which was linked to the European Romantic tradition. Also embodied in the concept of
Romanticism was man's search for meaning and identity within the greatness and sublimity
of his surroundings. Thus, from the heroic vision and sweeping vistas of the Hudson River
School to the ensuing mysticism of the Luminists. landscape painting encompassed not
only the observation of nature but also drama, poetry, metaphysics and morality.

The notion of nature as a source of spiritual experience became more objectified and
universal in the early twentieth century. Among the early modernists in America, Marsden
Hartley, Arthur Dove and Georgia O'Keeffe found in European antecedents a source for
their own expression. They saw nature as vibrant, alive and immediate, and sought to
represent it in organic terms. Their reduction and indeed distillation of nature resulted in
shapes that were highly abstracted from the literal images, yet retentive of vestiges of the
original forms. Throughout succeeding decades, landscape continued to serve as a point
of departure for abstraction. Although the locus of inspiration for Abstract Expressionism
lay in the unconscious, the imagery ultimately suggests landscape. Robert Rosenblum has
traced the linkages between the Northern European Romantic tradition and Abstract
Expressionism, stating, for example, that "the genealogical table that can be constructed
for the erratic configurations and gigantic scale of Still's paintings would seem to lead back
through the history of Romantic landscape painting. The situation is also the same for much
of the work of Jackson Pollock, whose images, like Still's, may be abstract but nevertheless
elicit metaphors within a range of natural, organic phenomena. ..."' The identification with
nature felt by the Earthworks artists took them from the studio into the actual physical
landscape: the earth was their palette. Though the finite object and accessibility to the
viewer were sacrificed, nature became form, medium, content and place for these artists.4

We are now at a point where landscape has reclaimed many of its traditional meanings
and values for younger artists. Landscape today elicits a variety of attitudes and is treated
in a wide range of styles, mediums and formats. It can be perceived or remembered, top-
ographical or imaginary. It can be nostalgic, dreamlike, otherworldly or visionary. It can
evoke the idea or sensation of landscape without having the look of landscape.

Artists today are not painting America, but their work draws its strength from America.
The physical qualities of the environment, native traditions and beliefs and contemporary
culture are inspiring forces for artists now. Throughout the country, artists echo a similar
refrain: it speaks of the traditional American desire to represent a sense of place. A "place"
is the product of an encounter between the artist and his or her surroundings. The process
of experiencing deeply is the catalyst that transforms any physical location into a place. To
claim a place as his or her own, the artist must isolate the particular qualities of the encounter
and express them through the medium of art.

The contemporary artist's concern with place may be symptomatic of the feared loss of
human values in our increasingly technologized and depersonalized society. In dealing with

landscape and the natural world, the artist can assert the value of those things in ourselves
and in our environment that we risk losing. In the past few years, there have been many
exhibitions devoted to the theme of the apocalypse.6 If apocalyptic painting portended the
end of the world, paintings that invoke "place" would seem to make a more affirmative
statement about the possibility of restoring human values and the sanctity of our environ-
ment. Further, there appears to be a desire on the part of many artists to make a distinction
between real and fictive (for example, television and movie) spaces. The flimsiness and
vulgarity of the shopping malls and fast-food chains that have claimed so much of our
environment have sparked a yearning for genuine and enduring objects and experiences.

Artists' engagement with landscape today may also be due to its capacity to mediate
between figurative and abstract tendencies. With the figurative impulse so strong in art now,
artists may be reluctant to relinquish imagery drawn from the real world. Landscape retains
tangible references to reality, yet is an ideal conveyance of abstraction. Thus, younger
artists are continuing the historical dialogue between abstraction and landscape, and in so
doing, they establish the parentage of the early American modernists.

The association of artists today with the Romantic tradition may also account for the
current appeal of landscape. As mentioned above, one facet of Romanticism is the notion
of man's search for identity. Equally important, perhaps, is the focus of Romanticism on
emotional content. The themes of the spiritual landscape and human emotional drama that
intrigued the painters of the eighteenth and nineteenth centuries have a renewed appeal
for younger artists. Using imagery pertinent to our own time, they have revitalized Roman-
ticism to express spirituality and emotional content in their art.

Four of the nine artists in this exhibition work in a landscape tradition that looks back to
our American heritage but at the same time is responsive to the mood of the present. Though
the paintings of Tobi Kahn, Rex Lau, Mark Innerst and Joan Nelson are highly individual in
mood and meaning, they have in common a departure from more traditional mediums (oil
or acrylic on canvas) and their work draws strength and beauty from their technical inno-
vations. Additionally, all four artists speak of their desire to articulate, often metaphorically,
their intensely personal feelings about nature, reality and art. While others among the group
do not work specifically within a landscape genre, they do touch upon aspects of natural
phenomena: the organic forms in Phoebe Adams's sculpture draw direct inspiration from
nature; Mark Kloth has spoken of his abstract installations as landscapes; and Irene Pijoan's
primordial figures either literally emerge from stone or are set within highly abstracted land-
scapes. Jim Peters's figures project a mood of deep introspection and are situated in intri-
guing and ambiguous interior spaces, and Anthony-Peter Gorny's photographs explore both
the real world and the world of the imagination: although their work reveals approaches
different from those of the other seven artists, it is equally compelling in its expression of
the universal, the timeless and the metaphysical.

Tobi Kahn received his initial training in photography, and perhaps it is this grounding that
has enriched his admirable ability to select, order and crop his landscape images until they

take on a compositional "Tightness ." Working from photographs or from memory, the artist
strips landscape to its essential core so that it evokes place, always serene and meditative,
yet also serves as a vehicle for abstraction. These landscapes are about form, color, texture,
mood; in them, little attention is paid to topographical detail or description. Intuitive adjust-
ments of forms from smaller to larger scale, and the fluent draftsmanship that defines the
contours of these forms assure that the works are experienced as deeply by the viewer as
they are felt by the artist. Gently rolling hills, bulbous or sharply peaked mountains, triangular
or trapezoidal patches of sea, serpentine rivers and roads are powerful shapes which tightly
interlock on the surface of the canvas. As shapes, they are at once abstract and archetypal,
yet in the context of the whole, there is no mistaking their relationship to forms in the natural
world.

The ambiguity between abstraction and representation is deliberately cultivated by Kahn.
The artist is, in fact, a master at subverting traditional expectations. Horizon lines seem to
sit on the same plane as foreground forms; roads that recede in a Munchian fashion do not
create the illusion of deep space; bright colors, which usually move forward, are used in
backgrounds. Color does not conform to its expected associations either, causing us to
wonder, for example, if the curving pink path in Azba II (cat. no. 29) is a river or a road, an
enigma that remains unsolved.

Though the aforementioned pictorial devices may seem to emphasize the paintings' flat-
ness, this flatness is subverted by a pronounced sculptural quality. The artist's technique
enhances this volumetric sensation: Kahn prepares his ground with a chalky white acrylic
polymer, which gives the works a built-up, toothy surface texture. By working his paint in
one direction up to the boundary of the next form, the artist creates a sculptural ridge which
simultaneously reinforces the integrity of that form and makes it more volumetric. The frames,
too, which are conceived as part of the work and are painted in a dark hue that relates to
the tonalities of the compositions, stress the works' plastic dimension.

Kahn is a student of Josef Albers's color theories; he believes in the master's statement
that "In visual perception a color is almost never seen as it really is — as it physically is.
This fact makes color the most relative medium in art."7 The manipulation of color for Kahn
is a deliberate and thoughtful process; the expressive power and poetry of the paintings
emanate first and foremost from the gentle pulsation of his exquisite close-valued hues.
The artist painstakingly layers his pigment, working from dark to light or light to dark, some-
times creating opaque areas of dark colors which are then successively lightened, and
sometimes rubbing black into lighter zones to impart a resonance and depth. Elsewhere,
areas of thinly applied washes retain an ethereal translucency. Color is not localized: one
hue may be subtly rubbed into a neighboring area to reinforce the essential harmony of the
whole. More recently, the artist has used metallic pigments that allude to natural ores or
imitate the effect of sunlight on water: these range from golden and coppery earth tones
to silvery whites and blues to shimmering greens and rich scarlets. Though there is no
discernible light source in Kahn's works, there is a magical interior luminosity that emanates

from the white ground and is enhanced by the delicate translucency of his veils of color.

Sculpture is a natural outgrowth of Kahn's concern with plasticity in his paintings. The
paintings from the late seventies and early eighties are often so compact and boxy that
they straddle the line between painting, sculpture and object. Recently, the artist arrived at
a means of unleashing some of the power and intensity of these works by enlarging his
scale and by conceiving of sculpture as separate from painting. The sculpture is at its most
potent in a series of wooden shrines that house smaller figurative statues, as in Brun (cat.
no. 30). Kahn speaks of searching for contemporary equivalents to ancestral religious shrines
in these works, and in their nonspecificity and haunting mysticality they communicate with
the viewer on a spiritual level.

Like Arthur Dove, whom he greatly admires, Kahn has sought to transcend the temporal
in his work. He, too, strives to transform nature so that it reflects a spiritual state of mind,
and in so doing he equivocates between abstraction and reality. Kahn also draws inspiration
from the formal qualities of the work of the American modernists: one is reminded of Hartley's
Maine seascapes, in particular the way his ocean and rock configurations interlock; or of
Dove's organic shapes which fill their shallow landscape background; or of O'Keeffe's con-
centration on the sensual in elemental natural forms, her celebration of the land as its own
monument, possessed of an inner pulse. There are strong affinities, too, with Milton Avery's
eloquent and lyrical landscapes of the fifties, which approach abstraction in their spare,
simplified forms, elegant line and soft and harmonious palette. Kahn acknowledges other
important influences as well: Alberto Giacometti, whose exaggerated attenuations of figures
have affected his own expressive distortions of nature; and the contemporary sculptor Martin
Puryear, whose reductivist aesthetic, organic forms and subtle handling of color he admires.

Rex Lau's vision, like Tobi Kahn's, is rooted in nature. Though on the surface Lau's stately
images seem emblematic — unspecific and generalized — they are in fact explicit forms
based on the artist's observations of his surroundings in Montauk, on the eastern tip of Long
Island. One critic relates his discussions with Lau regarding the genesis of the subject
matter: "The image for The Wind Demons [see cat. no. 42], for instance, came when he
looked out his window during a storm and saw a cedar tree bowing in the gale. He noted
that the wind was so fierce that it wouldn't allow the tree to spring out of its bend, in effect
'freezing' it in its torturous position. It was an epiphanic image, one that burned into his
mind and which he heightened into a compelling emblem through planar simplification and
a hieratically presented doubling.' "8

The boulders that make up Montauk's dramatic coastline, the peaks of waves and the
barren trees of winter are images drawn from Lau's environment. These subjects, explored
singly and in combinations, are stripped to their essence and give structure to the work.
Repetition of forms, sensitivity to cropping and edge, an insistent frontality and luminous,
nondescriptive color catapult these paintings into the realm of abstraction.

The solid, sculptural quality of Lau's paintings is owed in part to the material upon which
they are executed: carved Hydro-stone bestows an actual three-dimensionality and weight

on his forms. This jagged and irregular shallow relief is particularly appropriate to the imagery
of craggy rocks and spiky, menacing trees. Enhancing the works' sculpturality is the elab-
orate facture of the surfaces: tiny incisions, crosshatchings and other scarring in the Hydro-
stone create a compelling immediacy, and also absorb and refract light as it dances across
these enlivened planes. Pushed up to the surface to claustrophobic effect, Lau's forms
confront the viewer head-on. Though Lau does not frame his works, he often creates a
framelike border that is either explicit or suggested by the edges of his forms, as in Cape
Fear and the Deep in the Forest series (cat. nos. 43, 47, 48). These "frames" have an
important function in terms of restoring a spatiality that is threatened by the forceful forward
movement of the imagery.

Lau applies his oil paint in layers, sometimes blending and subtly modulating them, some-
times retaining a lively brushy quality. In works such as Leaping Without Looking (cat. no.
46). color is highly saturated. In others, for example Deep in the Forest II (cat. no. 48), Lau
exploits complementary contrasts of red and green so that each vibrates intensely. And
where color is subtle and low-keyed, as in Petrified Forest (cat. no. 45), it projects a quiet,
introspective mood. Lau's forms, though compressed, breathe color and light, like Monet's
haystacks. His work speaks of color as derived from, but ultimately independent of, nature.
Through Lau's paintings we share his understanding of the powerful sensations that lib-
erated color can provoke as optical phenomenon and physical sensation.

By working in what can loosely be defined as series, Lau is free to explore the shifts in
meaning, mood and psychological impact created by changes in form, palette and com-
position. The different pairings of trees in the various versions of The Wind Demons and
Deep in the Forest, for example, impart to the works an air of fantasy and mystery that
recalls Metaphysical and Surrealist painting. A similar effect occurs in certain works by
Kahn, such as Azin I (cat. no. 25). Though neither artist juxtaposes unrelated objects, their
tree and mountain forms can have a figural presence, a persona that recalls the allusions
of inanimate forms to human beings in paintings by de Chirico and Magritte. Shifts in palette
also suggest shifts in time of day, ranging from bright and revealing daylight to mysterious
and romantic night. The sinister quality of the green and orange sawtooth-edged trees in
The Wind Demons is tempered in other versions executed in soft, pastel tones of lavenders
against pink, for example. On the other hand, in Untitled Seascape (Large Pink Wave) (cat.
no. 44), rendering the sharp, pointed crests of waves in a candied pink does little to mitigate
the implication of nature's annihilating powers. What this proves is that there are no formulas
to be applied here — the emotional expression of each work results entirely from the inter-
action of that particular combination of elements.

Like Kahn, Lau is concerned with essences and distillations. He, too, shares a spiritual
kinship with Hartley and Dove. In particular, Hartley's strongly colored bulky forms with their
ragged edges seem to have inspired Lau. And Dove's deep feelings about nature as the
wellspring of his images are undoubtedly shared by the young artist. Though Lau's obser-
vations of nature are extremely personal, their universal qualities are unmistakable. His

simultaneous truth to nature and to painting is a rare accomplishment that enriches our
viewing experience.

Joan Nelson's stark and haunting landscapes are reductive in color and imagery, yet rich
in nuance and poetry. Unlike Kahn and Lau, Nelson does not strip nature to its essences,
nor does she celebrate the inherent beauty of forms in the natural world. Her spare com-
positions emanate a profound sense of desolation; there is an unsettling and inexplicable
emptiness in these unpeopled environments.

In 1984, the artist abandoned oil on canvas for egg tempera on plaster or Masonite.
Though tempera is not a medium used widely by contemporary artists, Nelson has been
able to coax great subtlety and refinement from this technique by building up thin layers of
wash. Smooth and glistening white gesso underpainting and the irregular and wavy surface
of a thin layer of plaster provide grounds on which the artist glazes a narrow but exceedingly
rich range of monochromatic pigments. A close study of these colors reveals blacks, ochers,
sepias and rich sienas, and surprising blushes of pinks or oranges in the mottled skies.
Nelson recently has expanded her palette to include a pale and ethereal turquoise blue
which reads as a diaphanous film in paintings such as Untitled (cat. no. 56). In 1985, Nelson
also began using encaustic, either inlaying solid-colored wax to "draw" the image, or ap-
plying alternating layers of wax and oil paint until the image emerged in its final state. The
surface quality of the wax, uneven and sometimes pitted or scarred, renders these easel-
scale paintings tactile and sensuous.

Architecture is the primary subject of these "scapes." Nelson is not concerned with de-
scriptive detail, but rather with the formal properties of her subjects and the sensations that
her minimal and poetic renditions of them evoke. Though the artist generally eschews
identifying architectural features, the volumes of her forms are often inobtrusively punc-
tuated by windows, chimneys, balconies and stairways. Nelson's settings are unlocalized
and isolated from particular contexts. They range from the type of place one might encounter
in a dream, to images that have a more striking familiarity yet elude definition. The artist
paints from her imagination, from reality and from photographs, rearranging her sources to
remove them from the realm of specificity. What is conveyed are generic subjects: we may
think of barns, industrial buildings, dwellings and walls. Beyond that, the mystery remains.
The articulation of these forms when transferred into paint is the only reality that ultimately
concerns us.

The absence of people in these barren environments raises ominous questions, prompt-
ing one critic to see the works as having an apocalyptic message.9 This is perhaps an
unintended result, not a direct aim of the artist. What seems more important is the concern
with the simultaneous beauty and ugliness of manmade forms in our environment. Nelson
approaches her compositions like an abstract painter, setting up a series of formal problems
which she resolves in the working process. Many of the paintings are extremely minimal in
their imagery; the artist thus focuses our attention on the juncture of ground and sky, on
the volumes and angularities of the forms or on the arrangement of lights and darks. In

others, the creation of a deep space through geometric and perspectival devices is a primary
concern Nelson's structures are rarely depicted frontally; most often, our perspective is
from above or below, and the buildings are sited so that we read the corner intersection of
their two faces rather than their facades. Buildings often jut into the picture plane as dra-
matically foreshortened wedge-shaped volumes, so that the orthogonal lines of their top
and bottom edges converge at a vanishing point on the horizon. Indeed, these exaggerated
raking diagonals, defined by buildings, roads, walls, telephone poles or railway tracks, have
become a hallmark of the artist's style.

Like the work of the Precisionist painters Charles Sheeler and Charles Demuth, Nelson's
architectural landscapes are realistic at base, but controlled by geometric simplification and
stripped of detail to the point where they become abstract in their impact. Yet Nelson infuses
her paintings with a warmth and surface richness that removes them from a Precisionist
aesthetic. We are also reminded of Edward Hopper's depictions of urban and rural America,
and the silence, detachment and loneliness they exude. The essentially geometric organ-
ization of his picture planes, his sensitivity to light and the static quality of his images find
parallels in Nelson's art. However, the poetic evocations of Nelson's mysterious universe,
and the intermingling of dream and memory with reality are uniquely her own.

The exquisite landscape paintings of Mark Innerst convey great power and intensity on
a diminutive scale. The specificity of the images he chooses to record contrasts sharply
with the unnamed places in Nelson's world. Even his titles reinforce this particulanzation:
Brooklyn Seen from the East River Park or The Mississippi (New Orleans, LA). Innerst
either culls his sublets from photographs of his environment — such as the central Penn-
sylvania landscape of his youth, or the view from his East Village rooftop — or appropriates
them from sources as diverse as television, medical journals, issues of National Geographic
and dioramas at the American Museum of Natural History. Though they often retain the
look of their photographic sources, the paintings are not meant only to be representations
of external reality; on the contrary, in their complex layering of both technique and meaning,
they consistently transcend mere observation.

In the work of Kahn. Lau and Nelson, landscape, while an end in itself, also serves as a
point of departure for abstract invention. This dialogue between representation and abstrac-
tion is present in Innerst's paintings as well, but instead of progressing from realistic to more
abstract, universal images, he reverses the process. His intricate working method entails
laying an acrylic ground of one saturated color or a geometric pattern of several colors. He
then builds up layers of translucent oil glaze to achieve a high degree of finish that recalls
the look of the photographic source. Though the underpaintmg is for the most part obscured,
portions are allowed to remain visible as specific forms, patches of color or brilliant strips
of light in the completed work. This separation of form and color refers to the mechanical
process of printmakmg, a medium in which the artist has been trained.

Innerst constructs elaborate frames for his works, sometimes incorporating fragments of
old frames or moldings. These frames, which the artist considers part of the works, often

double the pieces' sizes. They are not merely artistic conceits; rather, they further develop
the associations of the images, echoing and enriching the temperament of the works. As
one critic has written, they "limit the works and reinforce their evocative isolation, diminishing
them in scale, serving to make them, like Cornellian boxes, places of reverie and contem-
plation, defined spaces of magic."'0

Innerst imbues even the most banal subject with drama and exoticism. Confronted by
Brooklyn Seen from the East River Park (cat. no. 24), we might think we are viewing one
of Canaletto's Venetian scenes rather than the bland industrial horizon of Brooklyn's riv-
erfront. The expressive painterliness, the intense and fiery orange light, passionate color,
low horizons and awe-inspiring skies conjure up mystical and otherworldly associations that
make Innerst an indisputable heir to the Romantic tradition. Moreover, the air of nostalgia
and threat of change or impending disaster that we perceive in certain works, even the
gruesome imagery in Untitled (Miscreant) and the landscape of skulls and bones in Cat-
acomb (cat. nos. 18, 20), refer as well to nineteenth-century Romantic attitudes toward
nature.

Yet this work is a curious hybrid of many Romantic sources. Innerst draws upon elements
of the European Romantic tradition, encompassing, for example, the Barbizon School paint-
ers' direct study of nature and Corot's more poetic approach. One also sees a fusion of the
Hudson River School painters' romantic realism based on nature with the Luminists' con-
centration on the descriptive and expressive qualities of light. There is a pronounced Amer-
ican quality to Innerst's penchant for flat landscapes with low horizon lines and palpable
light that recall the work of Sanford Robinson Gifford, John Frederick Kensett and Fitz Hugh
Lane. In particular, the subjective and dreamlike expression of George Inness's visionary
landscapes, his intimate conception of nature, painterly handling of form and intensity of
hue seem pertinent, as do Martin Johnson Heade's highly charged nocturnal skies.

Innerst makes references to his sources with great deliberateness; indeed this intentional
historicizing seems part of the cultivated artifice of the whole. But these allusions are sincere,
stemming from a deeply personal response to his subjects. The artist does not dilute the
power of his sources by working in a diminutive scale; rather, he reconciles a heroic and
epic quality with the intimacy and poetry of his own vision.

Figuration in contemporary art resembles landscape painting in its diversity and the
extreme degree to which the artists' emotions are a shaping force in the creative process.
Both Jim Peters and Irene Pijoan employ the figure and place it in narrative contexts that
are ambiguous and enigmatic, but tantalizingly real.

Jim Peters s work keeps its meanings mysteriously uncertain through an unusual mixture
of imagery drawn from the realms of reality and dreams. His private interior landscapes are
tinged with eroticism and unexplained tensions between male and female. These deeply
psychological themes center around the image of the female, whom the artist seems to
view with both sympathy and antipathy. In Against the Grid and Night Cottage (cat. nos.
61 , 62), it appears that the naked female is being cruelly punished, pressed up against the

cold tile wall. Yet In Doxology (cat. no. 63) the suggestion of a halo above the still naked
female's head hints at her deification. Peters insets smaller and equally ambiguous narrative
panels within many of the larger works. This dislocation of scale is discontinuous with the
imagery as a whole, and further confounds its meaning. We wonder, for example, whether
the panel at the bottom left in Untitled (Reclining Figure) (cat. no. 65) depicts a view into
another room, or provides a clue to the cause of the terrified look on the woman's face.
Through the use of plexiglass panels Peters increases the tension and erotic, dreamlike
associations of the works. Painted on both sides and affixed to portions of the canvas, they
function as windows and thereby add a voyeuristic note, making us feel as if we have gained
access to a scene that we were not intended to witness.

Though Peters is allusive in his imagery, he is extremely direct in his technique. His
paintings frequently incorporate collaged objects, ranging from photographs (often the same
one is used in different paintings) that either retain their integrity or are painted over, to bits
of wood, tin and other detritus the artist scavenges in Provincetown. An old sink cover
becomes a powerful framing element in Against the Grid, and Untitled (Reclining Figure)
is painted on a splayed shower stall. Often Peters paints on small panels which he then
groups together to form the final image of the work: this accounts for the irregular contours
and unusual surfaces of certain pieces and, in some cases, for the dislocations of meaning
as well. Found objects have also inspired three-dimensional compositions, such as Decision
and Summer (cat. nos. 59, 60), that are highly simple and direct, yet instilled with the same
mystery as the monumental paintings.

Peters frequently uses a triptych arrangement, whose associative link with altarpieces
cannot be coincidental. Religious undercurrents are found throughout Peters's oeuvre, in
the contemporary altarpiece format of Untitled (Reclining Figure) — whose subject also
reminds us of a reclining Buddha; in the modern-day angel as well as the very title of
Doxology; and in the strange resemblance to a confessional of the enclosure at the lower
right in The Gift (cat. no. 64). A crucifixion image occurs in a different version of Against
the Grid and An Italian Honeymoon can be interpreted as a contemporary rendition of the
Expulsion from the Garden of Eden.

In paintings such as Doxology we can find references to a few of the many artists Peters
admires: the decorative tracery of railings against flat planes of color recalls Henri Matisse,
and the architectonic color structure is reminiscent of Richard Diebenkorn. Though their
explicit detail and shock effect is relatively reduced, many of Peters's works bring to mind
the tableaux of Edward Kienholz. Peters's agglomeration of materials from the everyday
world onto the surfaces of the canvases, and his use of the connotative powers of these
materials to heighten the meanings of his narratives, certainly hark back to Kienholz's
chillingly real constructions. Perhaps most important to Peters is the work of Gregory Gil-
lespie, the American artist whose painstakingly executed realistic paintings possess an
intense visionary quality. Gillespie's clarity of detail and method of setting elaborate mini-
ature panels into the surfaces of his paintings have parallels in Peters's work. Further, the

dreamlike narratives of figures engaged in disquieting confrontations, the unresolved ten-
sions and the mood of religious allegory are similarly invoked by the younger artist.

Like Jim Peters, Irene Pijoan depicts private and ambiguous narratives that center on the
human figure. She has experimented with a wide range of styles and techniques, beginning
with nestlike sculptures constructed of found objects and progressing to plaster-covered
pillow sculptures, to expressionistic figurative paintings on abstract shaped pieces of styro-
foam and later to sculpture in stone, bronze and wax, often embedded with high- or low-
relief portraits modeled in encaustic. Most recently, the artist has synthesized many of these
approaches in a striking group of encaustic-relief and oil paintings that draw on both the
physical immediacy and power of her sculpture and the sensuality, drama and lyricism of
her paintings.

The human figure first entered Pijoan's art in the guise of portraiture. Working from pho-
tographs of herself and of close friends, in these pieces the artist alternates between a
fresco technique and a modeled-encaustic relief which is sometimes affixed to stone. The
portraits are rooted in direct, intent observation of the external person. This exterior may
be subject to expressive deformation: in works such as House Guest (cat. no. 67), Man-
neristic distortions are applied in the physiognomic rendenng. Yet Pijoan infuses her figures
with a melodramatic quality as well, so as to emphasize isolation and emotional introspec-
tiveness. In accordance with her belief that "a face is merely a shell encompassing a million
thoughts past and future,"" Pijoan imbues these portraits with great psychological depth.

The artist extended many of the concerns addressed in the portraits in a series of more
vigorously modeled figures set within exotic and vague terrains. Earth tones make up the
overall palette of these pieces, and the irregular surfaces, built up with plaster, are lush and
painterly. The works conjure up strong primordial associations, which are enhanced by the
primitively carved, bald and naked figures crouched in animalistic poses. The fetal-like
positions of the figures and the human forms emerging from stone in such works as Mes-
opotamia and Streams (cat. nos. 69, 70) evoke images of birth and raise questions about
mans origins.

Primitivism is deliberately cultivated by the artist, who speaks of her love of paleolithic
art, in particular the cave paintings, which hold a special fascination for her. It is not sur-
prising, then, that her enigmatic narratives have the ritualistic overtones that are associated
with much prehistoric and primitive art, and that the irregular surfaces of her canvases recall
the uneven topography of ancient cave walls.

In recent works such as Glacier and Ransom Earth (cat. nos. 71, 72), precisely carved,
luminous encaustic figures rise in relief from rich grounds of plaster and oil paint. The figural
elements are hauntingly real as they extend into our domain, yet they are otherworldly and
ethereal, too. The pale, translucent surfaces of their flesh palpitate with life, and indeed
become the focal points of the compositions. In Glacier, the highly finished figure is sus-
pended in a no-man's land between heaven and earth This figure s polished surface creates
a vital tension with the rawness of the environment and the cruder carving of the other

figures. Whereas the earlier portraits achieved their expressivity through distortions of fea-
tures and mien, the full figures, though faceless, are equally expressive in their contorted
and balletic poses.

Italian art, from the frescoes at Pompeii to the paintings of the Italian Primitives to the
Renaissance and Mannerist periods, has provided considerable inspiration for the artist.
Ransom Earth, like many of Pijoan's works, recalls Giotto in its narrative power, depiction
of space, the strength and simplicity of the highly plastic forms and the serene mood. Indeed,
the finely executed Leonardesque figure in the upper right acts in counterpoint to the pre-
dominant Italian Primitive style of the piece. A similar drawing style prevails in Church and
Stale (cat. no. 73), and its rich red tonalities evoke the Pompeian frescoes that the artist
has seen on several trips to Italy.

The undefined grounds in Pijoan's work lack even so much as references to architecture,
natural landmarks or any other signs that would give us a clue to time or place. As one critic
has noted, these works illuminate "states" rather than events.12 States of being or becom-
ing, states recalling primitive existence in their emotional urgency, states that relate to inner
experience and memory are the focus of this artist's imagination and creativity.

All the artists discussed so far have in some way explored the boundaries between
painting and sculpture. Phoebe Adams is a sculptor, and though her works seem to indicate
painterly concerns — in their relationship to the wall, suggestion of calligraphic drawing and
richly colored patinas — they remain strictly in the realm of sculpture in their conception and
realization.

In this decade, the rich tradition of bronze sculpture has provided new impetus for many
artists. Their search for an expanded range of materials has brought sculptors to reconsider
the time-honored medium of bronze and to seek ways of investing it with a new vitality. In
keeping with recent expressionist tendencies in art, sculptors have exploited bronze for the
expressive possibilities of its form, color and surface texture. Phoebe Adams is one of a
small number of artists who work exclusively in bronze. In her exploration of the medium,
she has developed fresh and captivating forms and patinas. Her works are all unique casts,
and each investigates a new and different set of challenges that she creates for herself.

Adams's work is abundant in references to the real world, especially to organic and
biomorphic forms and natural phenomena and processes. Allusions to amoebas and the
undersea world in trailing tentacles and fronds, to flora and fauna in such works as Pointed
Trap (cat. no. 1 ), to the flow of water in Headlong Fall, to human organisms and body parts
in The Nerve Cell and / Can Fear That, Too attest to the works' relationship with the natural
world. At the same time, however, the pieces are abstract and metaphoric, suggesting
movement and states of being — opening and closing, sprouting and growing, orbiting and
gyrating.

The wall is an essential counterpoint to Adams's forms, and the relationship of the sculp-
ture to this vertical surface receives vigilant attention. In many works, the point of attachment
is a primary consideration: the orbit of The World (cat. no. 5), for example, begins and ends

with the light lapis-colored ball on the wall. This anchor point is all the more important
because it keeps in check the floating impression created by the piece. Whereas some
works seem buoyant, others obey the laws of gravity in their orientation. The wall also
provides a backdrop for the play of shadows; it is activated by these distorted echoes of
the sculptures' protruding elements.

Like free-standing sculpture, this work addresses traditional problems of volume, mass,
balance and proportion. It intrudes into the viewer's space not by sitting on the floor but by
projecting from the wall, declaring itself emphatically, at first frontally, and then more coyly
in its irresistible invitation to peer around and within. The artist is extremely sensitive to the
twists and turns of forms, to angles of projection, to the views of the inside or underneath.

Adams enlivens her sculptures with a range of variegated colors and textures achieved
in the casting, chasing and patination processes. She endows some works with a bumpy
and prickly skin (cat. nos. 4, 9), whereas others are stippled or corrugated (cat. nos. 5, 6).
The combination of these different textures in the same piece is provocative and inspired.
Half Laugh (cat. no. 6), for example, sports a pleated upper portion, a midsection that is
activated by closely packed ridges and a flatter yet subtly modulated lower section that
recalls the time-worn surface textures of antique artifacts. Indeed, many of the patinas
generate such archaeological associations. The astounding array of colors the artist achieves
is, for the most part, that traditionally obtained from bronze, though imbued with great depth,
complexity and nuance. Golds, greens, turquoises, blacks and rusts predominate. Even the
surprising reds and whites do not seem artificial, owing partly to the fact that these colors
are found in the material and not applied to it. Though Adams's work may call to mind Nancy
Graves's polychromed bronzes, it is very different. Adams does not polychrome her pieces,
and her hues are rich and deep in contrast to Graves's strident colors. Additionally, Adams
casts her sculptures whole or in sections, whereas Graves's process is additive, involving
the agglomeration of casts of found objects and plant materials to form the final image.

Adams's oeuvre comprises a range of classical to baroque (or what the artist has called
"eccentric") forms and colors. Songbird (cat. no. 2), for example, recalls a Greek amphora
in its shape. The reverse "S" curve of this work has an elegant sway, an exaggerated
contrapposto that is echoed in Half Laugh. The "eccentric" works are often tougher and
less lyrical; for their impact they depend on spiky and jagged forms, quivering drawings in
space and great loops of bronze that thrust out from the wall. Whether flat or three-dimen-
sional, geometric or organic, angular or rounded, the parts of each sculpture are artfully
orchestrated to achieve a lively rhythm and graceful fluidity.

Mark Kloth gathers found objects and materials into environmental installations that are
at once dramatic, spiritual and contemplative. His alteration of his spaces is total, incor-
porating painting, drawing and light, so that the sum of the piece transcends the meaning
of the parts. Kloth's background is in performance art, and the theatrical nature of the
medium is indeed brought to bear in his installations — in their staging, lighting and manip-
ulation of space.

In his earliest work, Kloth explored the notion that creative activities and processes focus
attention on the artist. Physical participation in the work was a responsibility that Kloth
transferred from himself to the viewer when he began creating installations. The viewer's
participation — entering and moving through and around the piece — was vital to experi-
encing the work. In Penumbra, a 1981 installation (cat. no. 33), for example, the artist built
an igloo-like structure from stacked newspaper "bricks." In a darkened basement, with only
the igloo and a small cart spotlighted, the viewer was invited to lie face-up on the cart, and
to pull himself or herself hand over hand by a rope along a track into the igloo. Within the
solitude of the environment, the viewer saw patterns of diffused light and heard the muffled
echoes of his or her own voice. Only by approaching the piece in this manner and by entering
its essential core could the viewer partake of the complete experience.

The ramifications of this piece are far-reaching within the artist's oeuvre. The architectural
concept of building by stacking, and the use of ephemeral materials such as paper as
construction elements, became leitmotifs for Kloth. The igloo in Penumbra conveyed a
strong sculptural presence, and such central elements, constructed by the artist, were
essential to subsequent installations as well. The light source, always visible, and the shad-
ows cast by it also became integral to Kloth's work.

In Encore, a 1 983 installation (cat. no. 34), the primary sculptural element was composed
of a cylindrically rolled sheet of copper covered with asphalt; an intricate webbing of thin
steel strips crowned the work. The process of stacking and arranging these strands to form
a nestlike web recalls similar processes in nature — the weaving of a bird's nest, for example.
While most of Kloth's imagery is abstract, it nonetheless retains a referential and symbolic
element; thus in Encore the nest form was strongly suggestive of a haven or sanctuary. A
powerful beam of light acted as a directional signal, drawing the viewer to the work's core.
Attracted by the hallucinatory glow, the viewer walked through a wide chalk ring inscribing
the sculpture, and as he or she stepped out again and traveled around the "nest," his or
her track marks replicated the pattern of the steel tracery. Within the circle of illumination,
the viewer was projected into the work and thus became part of it. The notion of focusing,
expressed through either the use of light or the placement or juxtaposition of elements, is
a strong undercurrent that runs throughout Kloth's oeuvre.

If we were to remove one of the steel members of the central element in Encore, the
piece would fall apart like a house of cards. This vulnerability is completely antithetical to
our conception of the properties of steel. In a similar play on antithesis, Kloth confounds
our expectations by often constructing the walls and ceilings of his installations of newspaper
covered with black casein — thus employing a fragile material for a structural function. This
tenuous line between strength and vulnerability, between permanence and impermanence,
is a dominant concern of the artist. Indeed, his installations are always disassembled ulti-
mately— the final proof of their ephemerality.

Kloth considers his work to be a dialogue. There is, to be sure, an intimate interchange
among parts in his installations. But this dialogue first takes place between the artist and

his world: Kloth scavenges his environment, collecting those articles that speak to him in
both an aesthetic and an informative way, such as rusted drainpipes, the core of a baseball,
a piece of a boiler, a roll of roofing material. The manner in which these manmade materials
have been transformed through their use, and their revelation of a past appeal to the artist
He lives with these objects in his work space, and in so doing receives from them suggestions
for new incarnations. Through simple or complex manipulation and recombinations, these
articles are transformed so that their abstract qualities rather than referential ones prevail.

The realization of an installation is an intuitive process for Kloth. In Blindfolds and Pas-
sages (cat. no. 35), the artist stacked cobblestone blocks in four graduated rows, feeling
obliged to create a wall at the suggestion of the material. He then thought about movement
through the wall and the metaphoric meanings of "breaking through," of overcoming life's
hurdles. Long, thin metal strips resembling hay punctured this wall, and five charred paper
cylinders straddled it. The resulting configuration was that of a cross, which enhanced the
spiritual associations of the work. This reference to religion is not unique in Kloth's oeuvre:
indeed, the central image of many of his pieces has an altarlike character. Color appeared
for the first time in the artist's work in Blindfolds and Passages, on four panels of highly
saturated red, green, violet and yellow placed on the four walls. The arms of the cross
directed the viewer's attention to these "stations," simultaneously diffusing and emphasizing
its centralized force.

The introduction of color has had important repercussions in two more recent pieces,
and indicates a possible direction for the future. In Bridging Paths and Passing Stage, (cat.
nos. 39, 40), the artist has rubbed an intense chrome yellow into the canvas portions of the
sculptures, so that the light sources are synonymous with the objects themselves. The
circular rubbing of the pigment reinforces the theme of "focusing inward" or "honing in" that
recurs throughout Kloth's oeuvre. The power of these works also rests in their nature as
discrete objects, and as such they are strongly heraldic, even totemic. Yet the elements of
chance and intuition are still inherent in the creative process: the metal drainpipes are found
objects with preexisting forms and functions, but in each work Kloth himself makes the
canvas into a cone by shaping it and stapling it to the wall. It therefore has no existence
without the wall, and is as ephemeral as the installation itself. Though separate pieces,
when installed together in a room Bridging Paths and Passing Stage have a unified impact
on the viewer. Forced to the center of the room by intense color and the points of the cones,
the viewer takes over the role of "essential core" formerly reserved for inanimate objects,
a radical yet entirely logical shift in direction for the artist.

Kloth's installations partake of an oriental tradition in the serenity and contemplativeness
of his formal arrangements. The work also invites comparison with that of the Italian Arte
Povera artists who sought to discover and extol the intrinsic magical worth of the elemental
forces of nature — earth, air, fire, water, light and minerals. Kloth is also drawn to the
sensitivity to and manipulation of materials in the work of Joseph Beuys and Anselm Kiefer.

Kloth's environments are strongly evocative of landscape. We feel that he is seeking to

replicate a sense of place in his art, to make a record of an encounter between himself and
his surroundings. To recall the experience of coming to a place, of concentrating on it and
of the place holding onto us is part of the artist's intention in these installations. Kloth's work
is at once physical and metaphysical. It retains both purity and clarity of purpose.

The making of art is for Anthony-Peter Gorny a passionate concern, one that encom-
passes all aspects of his life. As one critic has so aptly noted, it is a kind of secular religion
for this artist." Gorny's art is a search for meaning; he believes in the artist's ability to extract
meaning from what he or she sees and experiences. Yet at the same time he questions the
possibility of attaining absolute meaning, knowing finally that paradox, inconsistency and
change are basic conditions of human existence.

The key (if indeed there is a key) to Gorny's art and thought is contained in his dianstic
journals. These books are contemporary equivalents of illuminated manuscripts; they are
magnificent objects, each unique, made by him of his own handmade papers and bound
with colored endpapers embedded with a glorious array of leaves, flowers and pods. Though
sometimes embellished with drawings or photographs, the books are mostly |ammed with
the artist's thoughts, ideas and feelings, either jotted down in note form or elaborated upon
as prose poems. On these pages, subjects as diverse as literature, art criticism, film, video
and the artist's own work are explored with uncanny honesty; they are a wellspring for both
the images and techniques that Gorny uses in his art.

Gorny's oeuvre comprises drawings, handmade books, lithographs, photographs and
sculpture; though each is treated as a separate and equally important discipline, the works
overlap in iconography and style. The lithographs (cat. no. 1 3) display a meticulous balance
of tone, nuance of texture and intricacy of line. Sometimes the artist prints on both sides of
translucent Japanese paper, so that the layering of image and meaning takes on added
complexity and ambiguity. The richness of detail in the lithographs is awe-inspiring. Man-
nerist distortions in drawing, cryptic mirror writing reminiscent of Leonardo's, ambiguous
spatial effects, unexpected viewpoints and juxtapositions, art-historical references and a
wry humor contribute to the idiosyncratic quality of these pictorial diaries.

References to ecclesiastical art and architecture abound in Gorny's oeuvre. The hand-
made books, which have painted and carved wood or cast-bronze covers, recall medieval
manuscripts. The bronze bookcover The Golden Book: The Root of All Evil (cat. no. 14) is
reminiscent of fifteenth-century Florentine bronze baptistery doors in the way that the bas-
relief figures emerge powerfully from the metal. A photographic installation entitled Alter a
Plan of Duccio's Maesta (cat. no. 15) was conceived to replicate the format of the high altar
of the Cathedral of Siena. Though translated into a modern-day context with themes of
violence, nuclear destruction and white-collar crime, the spirit of the fifteenth-century mas-
terpiece is magically preserved in Maesta. The simultaneous monumentality of the whole
and intimacy of the individual panels of the Sienese source is retained in Gorny's work. So,
too, is the hierarchical ordering of images (the central panel depicting the Madonna en-
throned is replaced in Gorny's work with a brutal rape scene), narrative detail and elaborate

iconography. However, Gorny deliberately neutralizes the topical and violent character of
his staged scenarios, in his words "cooling off" their reality to the point where they are
"stillborn."

The allegorical predella panels at the base of the Sienese altar appear again in a later
work by Gorny, Transitivity Volumes 7-5 (cat. no. 10). Like the journals, these five large
bookworks — handmade books encased in large sculptural frames — resemble illuminated
manuscripts; each is a contemporary book of hours in its wealth of information and rich
detail. The almost jewel-like front covers of layered rhoplex, pigment and carbon transfer
are reminiscent of Romanesque art which, though often crudely embellished, achieves a
high degree of elegance. The ornamented frames, which are cast in polyester resin from
old frames and feature elaborate bas-reliefs of objects related to the volumes' themes, recall
the foliated borders in illuminated manuscripts. Installed on a wall with their Predella Diptych
panels of photographs beneath them (cat. no. 11), they truly become a contemporary
altarpiece.

Gorny spent a year studying in Siena, and it is therefore not surprising that Italian art and
architecture from the late Romanesque period through the present have had a major impact
on his work. Profoundly influential is fifteenth-century Sienese painting, which the artist
knows not only from his travels, but also from visits to the extensive collection of the Phil-
adelphia Museum of Art. The rich narrative quality of this north Italian art, the beautiful and
somewhat primitive drawing, the realistic — yet not mimetic — qualities and the manner of
capturing the essence of relationships and gestures are elements that Gorny seeks to
translate into his lithographs and photographs.

The photographs that comprise Maesta and the Predella Diptych panels are like small
theatrical pieces in their composition and imagery. Just as a play can be performed again
and again, some of these photographs are reused by Gorny in other contexts, such as It's
Another Thing Altogether, a book that he published in1 978. These tableaux explore personal
as well as universal images in contrived, Magritte-like situations which the artist stages in
his studio. They are distillations of many of the thoughts recorded in his diaries, and are
replete with verbal and visual puns. His props are objects drawn from the real world that
evoke poetic responses in him. He writes in his journal of the possibility of a sacra con-
versazione between these inanimate objects.

There is an intense Surrealist quality to these photographs, and to some of the lithographs
as well. The Surrealists' random and unexpected juxtapositions of objects are paralleled in
the juxtapositions of images within Gorny's individual photographs, and in the combination
of photographs into a larger oeuvre. Gorny insists, however, that despite the seeming ran-
domness, the connections that exist in and among these works are strong and rational.
Another goal of the Surrealists was to replenish poetic imagery through the illogical juxta-
position and combination of words. The interplay of language and narrative in Gorny's work
has a precedent in this Surrealist tradition. His oeuvre is filled with marvelous aphorisms
of his own invention ("Nuclear Burns/Litter. Which is Worse, Paper or Plutonium?") that

cause us to rethink the meaning of words or of the visual images to which they are attached.

The Surrealists believed the unconscious to be an essential source for art and life. Gorny
differs slightly in this regard as his ideas, while often recorded in his writings in a stream-
of-consciousness fashion, are not probed in dreams, but in a conscious and deliberate
search within himself. His images are very much grounded in visual events and in the
associations they trigger, and in art-historical sources ranging from Classical to Byzantine
to Romantic. Gorny stresses that it is the spirit of past art, not the look of it, that he seeks
to capture.

The techniques Gorny employs reinforce the Surreal quality of his photographs. Picto-
grams, double images, sharp contrasts of light and dark, inverted perspective, altered scale,
stop-action photography, blurring, scratched negatives and extreme points of view are pro-
vocative devices with which he challenges our perceptions. Additionally, the grainy textures,
soft focus and selenium toning which endows the prints with a warm, purple cast impart a
romantic, nineteenth-century aura to the photographs.

Gorny's art, like Joseph Cornells, is acutely personal. The complex layering of imagery
and meaning in the young artist's work also recalls the mystery and metaphor found in the
American Surrealist's shadow boxes and collages. Like Cornell, Gorny has made his art
his world, and his art becomes a poetic theater, reflecting that world.

Though the nine artists in this exhibition do not represent an identifiable movement or school,
one feature is salient when we consider them as a group That is their extraordinary achieve-
ment in reconciling often opposing concerns in art: painting and sculpture, abstraction and
representation, the secular and the spiritual, the private and the universal. These artists
often turn to the art of the past for stylistic and technical inspiration. Yet in looking toward
the future, they all achieve a clarity of expression that signals exciting new directions on
the ever-changing horizon of American art.

Footnotes

1 . Suzi Gablik, Has Modernism Failed9, New York and
London, 1984, pp. 59, 60, 127.

2. Ibid., p. 92.

3. Diane Waldman, Italian Art Now: An American
Perspective, 1982 Exxon International Exhibition, exh.
cat. New York. 1982. p. 9.

4. Robert Rosenblum, Modern Painting and the Northern
Romantic Tradition: Friedrich to Ftothko, New York, 1975,
p. 203.

5. Diane Waldman, "New Dimensions/Time-Space: Western
Europe and the United States," in Guggenheim
International Exhibition 1971, exh. cat., New York, 1971,
p. 16.

6. In her foreword to the catalogue The End of the World:
Contemporary Visions of the Apocalypse, The New
Museum of Contemporary Art, New York, 1984, p. 9, Lynn
Gumpert cites the following shows in New York alone:
7984 and Atomic Salon, Ronald Feldman Fine Arts;
Apocalyptic Visions, Galene Bellman; The War Show, Fine
Arts Center. State University of New York at Stony Brook;
and Dangerous Works, Parsons School of New York.

7. Josef Albers, Interaction of Color, New Haven and London,
1971, p 1.

8. Stephen Westfall, introductory essay to Rex Lau: Paintings
and Works on Paper, 1983-1985, exh. cat.. New York,
1985, n.p

9. Vivien Raynor, "Joan Nelson," The New York Times,
February 8, 1985, p. C32.

10. Richard Martin, "Mark Innerst," Arts Magazine, vol. 59,
October 1984, p 2

1 1 . David Bell, "Santa Fe Notes," Artspace, vol. 6, Fall 1982.
p. 62.

12. Christopher French, "Unions of Paint and Form.'/Artweefc,
vol. 15. May 19, 1984. p. 5.

13. Edward J. Sozanski, "Pursuing Art as a Kind of Secular
Religion." The Philadelphia Inguirer, May 15, 1984, p. 4E

CATALOGUE

PHOEBE ADAMS

Statement by the artist

An Example: I had a personal loss; one com-
mon to most of us, but I didn't have a name for
the feeling of that experience. I made an
image of flying wings that don't work, pro-
pelled by a symmetrical form that also no
longer works; it sags. The sculpture con-
notes its own history.

There have always been crevices of west-
ern art that are not concerned with any brand
of heroicism. This is my lineage. I look at the
outside world for particulars, for specifics
that are clues. Similarly, I look at my internal
landscape. Movement, form, growth, color,
these parts of natural structures exist out-
side our conceptions of the picturesque and
political usefulness. That these sculptures
are informed by the oddities of nature is nec-
essarily true because that is what I see. The
urgency to make an object is to give an ac-
count of unnamed experiences, the unspeak-
able feelings gleaned from peripheral vision.

Selected Group Exhibitions

Philadelphia Art Alliance, Art in Boxes, May 21 -June
24, 1979. Catalogue

Moore College of Art, Philadelphia, Opens Friday,
April 1980

College of Art, Maryland Institute, Baltimore, Sculpture
80: National Invitational Show, June 1 980

Stockton State College, Pomona, New Jersey, in
conjunction with Marion Locks Gallery, Philadelphia,
Regional Trends in Sculpture, October 26-November
13,1981

Philadelphia Art Alliance, S/300, June 1 6-July 31 , 1 982

Morris Gallery. Pennsylvania Academy of Fine Arts
Museum, Philadelphia, Sophia's House, January 14-
February 28, 1 983. Catalogue with text by Judith Stein

Matthews Hamilton Gallery, Philadelphia, Small Scale
Sculpture, February 1984

Institute of Contemporary Art, University of
Pennsylvania, Philadelphia, Made in Philadelphia 6,
March 1 0-April 6, 1 984. Catalogue with text by Ned
Rifkin

Lawrence Oliver Gallery, Philadelphia, June 21 -August
11,1984

Tyler School of Art, Temple University, Philadelphia,
Faculty Exhibition, February 12-March 7, 1985

Born in Greenwich, Connecticut, May 1 , 1 953

Philadelphia College of Art, B.F.A., 1976

Graduate Assistantship, State University of New York,
Albany, 1976-78

Skowhegan School of Painting and Sculpture, Maine,
1977

State University of New York, Albany, M.A., 1978

Visual Art Fellowship, Pennsylvania Council on the
Arts, 1982, 1985

Associate Professor, Tyler School of Art, Temple
University, Philadelphia, January 1985-present

Lives and works in Philadelphia

Selected One-Woman Exhibitions

Nexus Gallery, Philadelphia, February 3-28, 1981

Lawrence Oliver Gallery, Philadelphia, September
21 -October 20, 1984

Grace Borgenicht Gallery, New York, April 26-May 21 .
1985

Selected Bibliography

Edward J. Sozanski, "Art: More New Talent at the
I.C. A.," The Philadelphia Inquirer, March 13, 1984,
p.7F

Thomas Gartside, "Made in Philadelphia 6." The New
Art Examiner, vol. 1 1, June 1984, p. 18

Edward J. Sozanski, The Philadelphia Inquirer,
September 27, 1984, p. 6E

Miriam Siedel. The New Art Examiner, vol. 12.
February 1985. p. 57

Pointed Trap. 1983

Bronze with patina, 15 x 13x5'/2"

Collection The Metropolitan Museum of Art. New
York

Songbird. 1 983

Bronze with patina. 1 5 x 1 2 x 9 Vi?"

Private Collection

3 Spanning Time. 1983

Bronze with patina, 26 x 26 x 19"

Courtesy Lawrence Oliver Gallery, Philadelphia

Wink. 1984

Bronze with patina, 19x16x16"

Collection Betsy and Mike Dmgman

5 The World. 1984

Bronze with patina, 10x14x6"
Private Collection

6 Half Laugh. 1985

Bronze with patina. 39 x 24 x 13"

Collection The Pennsylvania Academy of the Fine
Arts; Henry D. Gilpin Fund 1985

7 That's Enough. 1985

Bronze with patina, 25 x 1 9 x 1 5"

Courtesy Grace Borgenicht Gallery, New York

What Remains. 1985
Bronze with patina, 34 x 41 x 29"
Collection Mr, and Mrs. Gilbert M, Davidson,
Clifton, New Jersey

9 Sweeping View. 1985

Bronze with patina. 38 x 40 x 1 6"
Collection of the artist

ANTHONY-PETER GORNY

Statement by the artist

SYMPATHY OF ALL THINGS

We were here We did this
Once what the Ancients called
"Sympathy of all things"

Some twilight objects here
inanimate really
Live with us intimate
animated beings
charged intelligent sincere

Vested with votive force
glow surviving time zones
hope dreamwish dread failure

Carry on silent subtle
reflection conversation
contemplation still
after our vanishing
limited memory

Born in Buffalo, May 3. 1 950

University of Siena and Istituto del'Arte, Siena, Italy,
1970-71

State University of New York, Buffalo, Summers 1 970,
1971

State University of New York, College at Buffalo,
BRA, 1972

School of Art, Yale University, New Haven, M.F.A.,
1974

Associate Professor of Art, Tyler School of Art, Temple
University, Philadelphia, 1974-82

Faculty Member, Graphics Department, Pennsylvania
Academy of Fine Arts, Philadelphia, 1 982-85

Individual Artist Fellowship, Pennsylvania Council on
the Arts, 1983

Artist in Residence, School of Fine Arts, Indiana
University, and The Echo Press. Bloomington, April
1983

Artist in Residence, University of Costa Rica, San
Jose, January 1985

Instructor, Pratt Graphics Center, New York, Summer
1985

Travels frequently between Philadelphia and Buffalo

Selected Group Exhibitions

National Collection of Fine Arts Gallery, Library of
Congress, Washington, D.C., Twenty-second National
Exhibition of Prints, September 23-December 8, 1973

Frednkstad, Norway, Norsk Invitational Print Biennale,
August 15-October 1, 1974. Catalogue

Barcelona, Premier International Biennale de Obra
Grafica, September 28-October 31,1 974. Catalogue

Pratt Graphics Center Gallery, New York, The Printed
Quilt, April 10-May 20, 1975. Catalogue

Albnght-Knox Art Gallery, Buffalo, Thirty-fifth Annual
Western New York Exhibition, May 9-June 15, 1976.
Catalogue

National Collection of Fine Arts Gallery, Library of
Congress, Washington, D.C., Twenty-third National
Exhibition of Prints, May 23-September 7, 1 975.
Catalogue

Swarthmore College, Pennsylvania, Four
Photographers, October 1976

The Brooklyn Museum, New York, 30 Years of
American Pnntmaking, November 20, 1976-January
30, 1 977 Catalogue with text by Gene Baro

Hong-Ik University, Seoul, Forty-eighth International
Exchange Exhibition, 1976

Municipal Museum, Cracow, Seventh Cracow
International Print Biennale, March-April 1978.
Catalogue

Alvar Aalto Museum, Jyvaskyla, Finland, Second
International Exhibition of Prints, June 27-September
9, 1978. Catalogue

NAME. Gallery, Chicago, September 7-29. 1979

New England Foundation for the Arts Visual Arts
Touring Program, Cambridge, Massachusetts
(organizer). Re: Pages. An Exhibition of Artists' Books.
Catalogue with text by Gary Richman. Traveled
September 1980-August 1981

The Brooklyn Museum, New York, Contemporary
American Drawing in Black and White, November 22.
1 980- January 1 8, 1 981 . Catalogue with text by Gene
Baro

Charles Burchfield Center, State University of New
York, Buffalo, The Art of the Printmaker, November
1980- January 1981

The Print Club, Philadelphia, 56th Annual International
Print Exhibition, December 2, 1 980-January 3. 1 981
Catalogue with text by Gene Baro and George Krause

Lerner-Heller Gallery. New York. The Great American

Fan Show, May 2-June 1 2. 1 981 Catalogue with text
by Virginia Fabbri Butera. Traveled to Reynolds-Minor
Gallery, Arlington, Virginia

The Brooklyn Museum, New York, 22nd National Print
Exhibition, October 1 -November 1 981 . Catalogue with
text by Gene Baro

The Print Club, Philadelphia, 57th Annua! international
Print Exhibition, November 3-28, 1 981 . Catalogue with
text by Peter C Bonnell and Alan Fern

Associated American Artists Gallery, Philadelphia, The
New Image, October 2-30, 1 983

The Brooklyn Museum, New York, The American Artist
as Prmtmaker; 23rd National Print Exhibition, October
27-December 14, 1983. Catalogue with text by Barry
Walker

The Noyes Museum, Oceanville, New Jersey,
Impressions: Experimental Prints, June 5-September
16, 1984. Traveled to Institute of Contemporary Art,
Richmond, Virginia

Pratt Graphics Center, New York, Prints Ensuite,
January 1 3-March 3, 1 985. Catalogue with text by
Andrew Stasik. Traveled to Albany Academy Gallery,
New York

Selected One-Man Exhibitions

Jane Haslem Gallery, Washington, D.C., February

15-March5, 1977

Nexus Gallery, Philadelphia, Private, May 8-26, 1979

Nexus Gallery, Philadelphia, V.V., October 17-

November8, 1980

Jane Haslem Gallery, Washington, D.C., New

Lithographs, May 1981

Olin Gallery, Roanoke College, Virginia, Photographs,
September 1 5-October 2, 1981

Jeffrey Fuller Fine Arts, Philadelphia, Lithographs
from the B-M-F-V-V Cycle, January-March 1982

Nexus Gallery, Philadelphia, Votives, February 1982

Morris Gallery, Pennsylvania Academy of Fine Arts
Museum, Philadelphia, The Sympathy of All Things,
May 3-June 1 7, 1 984. Catalogue with text by Judith
Stein

Jane Haslem Gallery, Washington, DC, The
Sympathy of All Things, November 27, 1984-January
6,1985

Museo de Arte Costaricense, University of Costa Rica,
San Jose. January 6-February 1 0, 1 985. Catalogue
with text by Guido Saenz

Selected Bibliography

By the Artist

It's Another Thing All Together,
independent publication, Philadelphia, 1978

On the Artist

Jean Reeves, "Ten Young Artists in a Show of High
Quality,'' The Buffalo Evening News, August 17, 1973,
section II, p. 24

Nancy Tobin Willig, "Ten Young Buffalonians Show
Works," The Buffalo Courier Express, August 19,
1 973, magazine section, p. 5

David Tannous, "Anthony Gorny Is a Master of Sorts,"
Washington Evening Star, March 3, 1 977

"Zwyczajny Swiat (Ordinary Life)" (Cracow), Pro/ekt:
Magazine of Visual Art and Design, vol. 1 24, March
1978, pp. 29-30

Maryanne Conheim, "The Art Boom," The
Philadelphia Inquirer, May 1 5, 1 978, pp. A1 -2

Ann Werstein, "Crisp Photographs Show Life's Fuzzy
Edge," Roanoke Times and World News, September
28, 1980, p. E6

Jonathan Katz, "Are You Listening?," The Philadelphia
Bulletin. October 26, 1980, section II, p. 8

Victoria Donahoe, "A Twin Bill to Make You Doubly

Glad You Went," The Philadelphia Inquirer, October

31,1 980, weekend magazine, p. 30

Richard Huntington, "Preferring Education Over Art,"

The Buffalo Courier Express, December 1 7, 1 980,

p. C6

Ben Forgey, "Artists Take a Fresh Look at History,"

The Washington Post, May 29. 1981 , p. C3

Virginia Fabbri Buttera, "The Fan as Form and Image
in Contemporary Art," Arts Magazine, vol. 55. May
1981, pp. 88-92

John Russell, "American Painters Are Now
Pnntmakers Too," The Philadelphia Inquirer,
November 20, 1983, p. H29

Edward Sozanski, "Pursuing Art as a Kind of Secular
Religion," The Philadelphia Inquirer, May 15, 1984,
p. E4

Vivien Raynor, Three Exhibitions at the Noyes
Museum," The New York Times, September 2, 1984,
p. 22

10 Transitivity Volumes 1-5. 1983-85

Handbound books of artist-made paper; covers,
rhoplex and dried pigment on linen on gessoed
Masonite panels, carbon transfers; frames, cast
polyester resin

Volume 1 ; Nature, 56 x 45 x 6"

Volume 2: Domesticated, Frenzied and Extinct,
56 x 39 x 6"

Volume 3: Human, 56 x 45 x 6"

Volume 4: Human Inventions, Applied Science,
56 x 39 x 6"

Volume 5: Principles of Perfection, 56 x 39 x 6"

Courtesy Dolan/Maxwell Gallery, Philadelphia

1 1 Predella Diptych. 1 972-76

2 panels of 22 silver gelatin prints each; each
panel, 12 x 120"; each print, 5 x8"

Courtesy Dolan/Maxwell Gallery, Philadelphia

Igi^&LiiiiaKiniHBi^jgii^^sgaji^ige

i iHK^iaiiiiiiikiESiara^isaBiiBB19'

12 What's Going On' 1984

Verso, graphite on artist-made paper, 38 x 28"
Courtesy Dolan/Maxwell Gallery, Philadelphia

Marriage (A.F.I.). 1978-81

Kisses like handshakes and handshakes as Kisses. 1 978-81

13 all works on pp. 44-45:
1978-82

Lithograph on paper, sheet, 22 V& x I6V2"
Courtesy Dolan/Maxwell Gallery, Philadelphia

Polyptych (Why, of course its a cross). 1978-82

Wh io only some bruises heal? (Unclear Nuclear). 1 978-81

For Those who still would. 1 978-80

Paperiace (Broken Halos) . 1 978-82

1 4 The Golden Book: The Root of All Evil. 1 984

Bronze bookcover for B-M-F-V- V (Bene Merenti
Fecit Vivus Vivo [Made well for the deserving,
those who are alive)), 25 x 19 x 3"

Collection Robert A. Hauslohner

BSH^@BlE

^ $S

15 After a Plan of Duccio's Maesta. 1981-82

Arrangement of 51 silver gelatin prints of varying
dimensions, total 96 x 120"

Courtesy Dolan/Maxwell Gallery, Philadelphia

MARK INNERST

Statement by the artist

Amidst irresistible technology, artistic hy-
bridization, and mandatory appropriation, a
well-considered painting on a single support
seems as clear and unfettered an expression
as a person could hope for.

Born in York, Pennsylvania, February 26, 1957
Kutztown State College, Pennsylvania, B.F.A., 1980
Lives and works in New York

Selected Group Exhibitions

The City Gallery, New York, Downtown! Uptown, May
1981

The Drawing Center, New York, Selections 75,
September 16-October 28, 1981

Hallwalls, Buffalo, Fictive Victims, September 18-
October 1 3, 1 981 . Catalogue with text by Valerie Smith

The Drawing Center, New York, New Drawing in
America, January 13-May 1, 1982. Catalogue.
Traveled to The Sutton Place Museum, London,
October 5-December 1 2; Galleria d'Arte Moderno
Dico'ca, Pisaro, Italy, January 22-February 27, 1983

White Columns, New York, Reallife Magazine, 1982

The Kitchen, New York, Benefit Show, May 15,1 983

Grace Borgenicht Gallery, New York, Invitational
Exhibition, June 1-30, 1983

Semaphore Gallery, New York, Otherviews,
September 10-October 8, 1983

Artists' Space. New York, Selections, October 1 -29,
1983

One Penn Plaza, New York, Newscapes. Land and
City/States of Mind, January 23-May 4, 1 984

The Museum of Art, Ft. Lauderdale, New Narrative
Painting: Selections from The Metropolitan Museum of
Art, February 9-26, 1 984. Catalogue with text by
William S. Lieberman

Nature Morte, New York, Civilization and the
Landscape of Discontent, April 1 -29, 1 984

Jeffrey Hoffeld Gallery, New York, Little Paintings, May
1 -June 9. 1984

Indianapolis Museum of Art, Painting and Sculpture
Today 1984. May 1 -June 10, 1984. Catalogue with text
by Helen Ferruli

The Museum of Modern Art, New York, An
International Survey of Recent Painting and
Sculpture, May 17-August 19, 1984. Catalogue with
text by Kynaston McShine

Holly Solomon Gallery, New York, The Innovative
Landscape, May 25-June 23, 1984

Larry Gagosian Gallery, Los Angeles. An Exhibition of
Painting and Sculpture from the Lower East Side,
June16-July21, 1984

Palazzo Ducale, Gubbio, Italy, New Landscape
Paintings, June 16-September30, 1984

Independent Curators Inc., New York (organizer),
Drawings After Photography, Allen Memorial Art
Museum, Oberlin College, Ohio, August 28-October
14,1 984. Catalogue with text by William Olander.
Traveling through June 1 986

Florida State University, Tallahassee, Natural Genre,
August 31 -September 30, 1 984. Catalogue with text by
Tncia Collins and Richard Milazzo

Institute of Contemporary Art, Boston, Currents,
September 6-November 4, 1 984. Catalogue with text
by David Joselit

Bucknell University, Lewisburg, Pennsylvania,
Contemporary Perspectives, October 5-November 25,
1 984. Catalogue with text by Barry Blmderman.
Traveled to Sordoni Art Gallery, Wilkes College,
Wilkes-Barre, Pennsylvania, December 9, 1984-
January6, 1985

Museo Rufino Tamayo, Mexico City, Nueva pmtura
narrativa: coleccion del Metropolitan Museum of Art,
Nueva York, November 6, 1984-January 4, 1985.
Catalogue with text by William S. Lieberman

Selected One-Man Exhibitions

The Kitchen, New York, May 1-29, 1982

Grace Borgenicht Gallery, New York, October 3-
November27, 1984

James Mayor Gallery, London, May 29-June 21,1 985

Selected Bibliography

Kim Levin. "Art Pix," The Village Voice. May 19-25.
1982, p. 76

Richard Milazzo, Wedge, pamphlet 6. November 1983.
n.p.

Robert L. Pincus. Los Angeles Times, June 22-28,
1984

Holland Cotter, "Civilization and the Landscape of
Discontent," Arts Magazine, vol. 58, Summer 1984,
p. 40

Michael Kohn, "Moma: an International Survey," Flash
Art, Summer 1984, pp. 62-63

Kim Levin, "Voice Choice," The Village Voice, October
17-23, 1984, p. 74

Richard Martin, "Mark Innerst," Arts Magazine, vol.
59, October 1984, p 2

Michael Kohn, Flash Art. January 1 985, p. 45

Ken Sofer [review], ARTnews, vol. 83, January 1985,
p. 150

Gerrit Henry, "Mark Innerst at Grace Borgenicht," Art
in America, vol. 73, April 1985, pp. 204-205

16 Pennsylvania. 1983

Oil on wood, two works, each 9% x 9%"

Collection The Metropolitan Museum of Art,
Edith C.Blum Fund, 1983

1 7 Monument to the 20th Division Gettysburg, PA .
1984

Oil on acrylic on board, 8% x 6V2"

Collection Chase Manhattan Bank, New York

1 8 Untitled (Miscreant) . 1 984
Acrylic on Masonite, 7 x 4%"
Private Collection

19 Peter Lone. 1984
Acrylic on board, 7% x 7%"

Collection Douglas S. Cramer, Los Angeles

20 Catacomb. 1984

Acrylic on board, 1 0% x 1 9%"
Private Collection, London

21 A Night to Remember. 1 985
Acrylic on board, 13 'A x 145/e"
Private Collection. Monaco

22 View of Algiers from New Orleans. 1 985
Oil on acrylic on Masonite, 10x1 3%"
Collection Mr. and Mrs. Franklin Konigsberg,
Los Angeles

23 The Mississippi (New Orleans, LA). 1 985
Oil on acrylic on Masonite, 19%x21"
Private Collection, Los Angeles

24 Brooklyn Seen from the East River Park. 1 985
Oil on acrylic on board, 1 7Vi x 21 %"
Courtesy Grace Borgenicht Gallery, New York

T O B I K A H N

Statement by the artist

The surface always differs from what lies
within, just as the entrance to a cave appears
black, but, one step in, reveals a new world.
My goal is to take that step into the cave, to
find the hidden form.

As a photographer I saw the scene as compo-
sition, without detail, and as a painter I have
tried to capture that ambiguity between fact,
memory and imagination. The shapes I have
chosen are deliberately simplified into
archetypes of mountain, island, sea and sky.
Later I may find a human form in the mountain
and change the mountain to disclose both im-
ages. So, the actual mountain (the fact) is re-
membered as an archetype and then recast
into another form as well.

Sometimes I add shadows where, in reality,
none could be cast, to emphasize that land-
scape can also be read as a three-dimen-
sional image against a background— much
like the objects inside the shrines. The paint-
ings are then both landscapes, referring to
reality, and composites of free-floating
forms, otherworldly and seductive in their al-
lusiveness, their suggestion of something
you think you know. They are meant to evoke
a place you once visited but can no longer
quite recall, remote as dreams.

Born in New York, May 8, 1 952

Tel Aviv University, 1970-71

Travels extensively in Eastern and Western Europe,
Asia. Australia, New Zealand and the Middle East,
1970-present

Hunter College, New York, B.A., 1976

Estell Levy Award for Art, 1 976

Herman Muehlstein Foundation Graduate School
Award, 1976

Internship, Art Program, Pratt Institute, New York,
1977

Pratt Institute Fellowship, Brooklyn, 1978

Pratt Institute, Brooklyn, M.F.A., 1978

Ad|unct Lecturer, New York Technical College, City
University of New York, 1 978-85

Ad|unct Lecturer. Elizabeth Seton College, Yonkers,
New York, 1979-80

Artist in Residence, The Hebrew Arts School, New
York, 1979-present

Visiting Artist, Mishkendt Sha'Amanim, Jerusalem,
1985

Lives and works in Long Island City, New York

Selected Group Exhibitions

Naomi Givon Gallery, Tel Aviv, July 1980

Zolla Lieberman, Chicago, July 1 8-August 28, 1 980

Schlesinger-Boisante, New York, December 9, 1980-
January24. 1981

Queens Museum, Flushing, New York, Annual Juried
Exhibition, January 3-March 1 , 1981 . Catalogue with
text by John Perreault

Althea Viafora Gallery, New York, March 10-Apnl 5,
1982

Naomi Givon Gallery, Tel Aviv, September 1982

Robert Freidus Gallery, New York, The Horse Show,
May 17-June18, 1983

Harm Bouckaert Gallery, New York, The Saints,
September 7-October 8, 1 983

Oscarsson Hood Gallery. New York, From the Abstract
to the Image. January 1 0-February 4, 1 984

Suellen Haber Gallery, New York, Framed, February
11 -March 10, 1984

Civilian Warfare, New York, 2500 Sculptors Across
America, July 12-August 12, 1984

Althea Viafora Gallery, New York. Small Works.
September 1 1 -October 2, 1 984

Studio K, Long Island City, New York, Two Long Island
City Artists. May 5-June 9. 1 985

Selected One-Man Exhibitions

Debel Gallery, Jerusalem. January 7-28. 1978

Pratt Institute Gallery. New York. February 19-24.
1978

Fordham University, New York, March 1 1 -April 1 0,
1979

Robert Brown, New York, November 16-December6,

1980

Blumberg Harris, New York, December 2-14, 1981

Althea Viafora Gallery, New York, November 29-
December 20. 1 983; October 1 6-November 8, 1 984

Bernard Jacobson Ltd., Los Angeles, April 23-May 28,
1985

Selected Bibliography

Michael Brenson, "Art: Portraits of Artists as Seen by
the Artist," The New York Times, December 1 6, 1 983,
p. C30

Douglas Dreishpoon, "Tobl Kahn," Arts Magazine, vol.
58, January 1984, p. 7

Grace Glueck [review], The New York Times,
November 2, 1 984, p. C25

Douglas Dreishpoon, "Essence of Vision: The Art of
Tobi Kahn," Arts Magazine, vol. 59, January 1985,
pp. 81-83

Susan A. Harris, Arts Magazine, vol. 59, January
1985, p. 40

Meg Perlman, ARTnews, vol. 84, April 1985, pp. 143-
144

Kristine McKenna, "The Art Galleries," Los Angeles
Times, May 3, 1 985, part VI, p. 1 5

25 Azinl. 1983

Acrylic on board. 27 x 33V2"
Private Collection

26 Tagir. 1984

Acrylic on board, 28 x 36"
Collection Mary Sharp Cronson

27 Gutta. 1984

Acrylic on board, 27 x 35"

Collection Christian McGeachy, New York

■^HBH

28 tea//. 1984

Acrylic on canvas mounted on wood, 48 x 73 Vz"
Collection Solomon R. Guggenheim Museum,
New York
84.3213

29 Azball. 1984

Acrylic on canvas mounted on wood, 75 x 59"
Courtesy Althea Viafora Gallery, New York

30 Brun. 1985

Acrylic on wood, 21 x 1 1 x 9"

Collection of the artist; courtesy Althea Viafora
Gallery, New York

31 Giro III. 1985

Acrylic on canvas mounted on wood, 60 x 96"
Collection Linda and Ronald F. Daitz, New York

32 Rema. 1985

Acrylic on board, 54 x 39"

Courtesy Althea Viafora Gallery. New York

MARK KLOTH

Statement by the artist

My work is my voice.
I find my voice through my work.

Born in Minneapolis, August 26, 1954

Arizona State University, Tempe, B.F.A. (Sculpture),
1978

Graduate Assistantship — Sculpture, Virginia
Commonwealth University, Richmond, 1979-81

Virginia Commonwealth University, Richmond, M.F.A.
(Sculpture), 1981

Lives and works in Brooklyn
Selected Group Exhibitions

Scottsdale Center for the Arts, Arizona, First Annual
Traveling Box Show, March 1976, Traveled to Arizona
State University Gallery, Tempe

University of Colorado, Boulder, Xerox, Xerox, Xerox,
February 15-March 15, 1977. Catalogue

Phoenix College, Arizona. Invitational Sculpture
Exhibition, March 15-April 15, 1977

Mathews Center Gallery, Arizona State University,
Tempe, First Annual Wood-in- Art Competition,
September 25-October 23, 1977

University of Arizona Gallery, Tucson, Arizona Tri-
University Invitational Traveling Exhibition, November
1 3-December 4, 1 977. Traveled to Northern Arizona
University Gallery, Flagstaff, December 14, 1977-
January 1 5, 1 978; Mathews Center Gallery, Arizona
State University, Tempe, January 25-February 1 0

Yuma Center for the Arts, Arizona, Papermaking
Invitational, 1 978

Proposal Gallery, Baltimore, Black Boards, July 10-30,
1980

Anderson Gallery, Virginia Commonwealth University,
Richmond, Five Artists in Richmond, 1 980

Siegel Contemporary Art, New York, Nocturne,
September 13-October 1, 1983

General Electric Company, Fairfield, Connecticut,
Clothes, 1983

P.S.1 , Institute for Art and Urban Resources at The
Clocktower, New York, 34; 83-83, January 12-
February 12, 1984

Condeso Lawler, New York, Fall Show, September
8-29,1984

Ruth Siegel Ltd., New York, Salvo, September 1 1-29,
1984

Selected One-Man Exhibitions

Fine Arts Gallery, Arizona State University, Tempe,
Salvage, March 1976

1116 South Ash, Tempe, Arizona, performance.
Installed: An Installation, October 23, 1 977

Fine Arts Gallery, Arizona State University, Tempe,
performance, Three Days in a Strapped Room,
November 20-22, 1977

Fine Arts Gallery, Arizona State University, Tempe,
performance, In Tight: Strapped in a Mattress,
December 9, 1977

Faculty Parking Lot, Arizona State University, Tempe,
performance, Suspension: Fifteen Feet in the Air, May
15,1978

College of Art, Maryland Institute, Baltimore,
performance, Point/Void, October 1 6, 1 978

1 708 East Main, Richmond, Virginia, installation,
Penumbra, March 6-30, 1981

1 708 East Main, Richmond, Virginia, performance,
Echo, March 22, 1981

Anderson Gallery, Virginia Commonwealth University,
Richmond, installation (M.F.A. thesis exhibition). Dead
Man's Hand, April 30-May 15, 1981

PS. 1 , Institute for Art and Urban Resources, Long
Island City, New York, installation, Monument and
Moment, October 17-November 17, 1982

PS. 1 , Institute for Art and Urban Resources, Long
Island City, New York, installation, Encore, January 15-
February 15, 1983

Siegel Contemporary Art, New York, installation,
Blindfolds and Passages, March 30-April 23, 1 983

PS. 1 , Institute for Art and Urban Resources, Long
Island City, New York, installation, Stations of
Temperament, October
1 -November 1, 1983

The New Museum of Contemporary Art, New York,
installation, Blind Migration. . . Waves at Bay,
December 9, 1983-January 8, 1984

Ruth Siegel Ltd., New York, Works, February 20-March
9, 1985

Selected Bibliography

Ellen Lee Klein, "Arts Reviews," Arts Magazine, vol.
57, June 1983, p. 44

Grace Glueck [review], The New York Times. March 1 ,
1985, p. C24

33 Penumbra (detail). 1981

Installation, 1708 East Main, Richmond. Virginia
Canvas-and-aluminum cart, newspaper bricks
stacked over a steel frame, steel track and nylon
rope

34 Encore. 1983

Installation, P.S. 1 , Institute for Art and Urban
Resources, New York
Casein, chalk and oil on newspaper walls;
asphalted copper sheet and steel

35 Blindfolds and Passages (detail). 1 983

Installation. Siegel Contemporary Art, New York
Casein and dry pigment on newspaper walls; dry
pigment, graphite, wax and polyurethane on
Homosote tiles; granite, steel and paper

36 Stations of Temperament. 1 983

Installation, PS. 1 , Institute for Art and Urban
Resources, New York

Casein and dry pigment on newspaper walls;
acrylic tape on concrete, burned fabric, asphalt
on copper, rubber-coated wire

37 Stations of Temperament (detail

38 Blind Migration. . . Waves at Bay. 1 983-84

Installation, The New Museum of Contemporary
Art, New York

Casein and dry pigment on newspaper walls,
asphalt on copper; steel, string and wax

39 Bridging Paths .1985

Metal, casein and dry pigment on canvas,
96x112x10"

Courtesy Ruth Siegel Ltd., New York

40 Passing Stage. 1985

Metal, casein and dry pigment on canvas,
113x68x23'/2"

Courtesy Ruth Siegel Ltd., New York

REX L A U

Statement by the artist

All of my current work comes from an obser-
vation of nature, in its many moods and con-
ditions. I hope to bring to this observation my
personal vision, and to make the best paint-
ing I can.

Born in Trenton, New Jersey, February 26, 1 947
The School of Visual Arts, New York, 1 966-69
Lives and works in Montauk, New York

Selected Group Exhibitions

New Jersey State Museum, Trenton, Art from New
Jersey, March 18-May 14, 1967

Anna Leonowens Gallery, Nova Scotia College of Art
and Design, Halifax, James Lee Byars, Rex Lau, April
1-3,1969

Riverside Museum, New York, Five Situations. October
3-November 10, 1969

Visual Arts Museum, The School of Visual Arts, New
York, Unnatural Practices, August 3-30, 1971

Parsons-Truman Gallery, New York, This Doesn't Look
Like a Work ot Art, April 20-May 1 5, 1 976

Truman Gallery, New York, December 13, 1977-
January7, 1978

Organization of Independent Artists, New York,
Constructs, April 15-May30, 1978

Parsons-Dreyfuss Gallery, New York, Landscape,
Seascape, Cityscape, December 4-22, 1978

Harm Bouckaert Gallery, New York, Edward Albee,
organizer, An Exhibition ot Painting and Sculpture by
Five Artists Who for Some Dumb Reason Don't Have
New York Galleries, January 6-31,1 982

Guild Hall, East Hampton, New York, Artists from The
Edward F. Albee Foundation, May 30-June 27, 1982.
Catalogue with text by Edward Albee

Siegel Contemporary Art, New York, An Installation of
Recent Works by Jerry Buchanan, David Craven, Rex
Lau, Sean Scully, March 2-26, 1 983

Siegel Contemporary Art, New York. Nocturne,
September 13-October 1, 1983

The Metropolitan Museum of Art, New York, Selection
of Recent Acquisitions by the Twentieth-Century Art
Department, September 15-November 30, 1983

The Hudson River Museum, Yonkers, New York, New
Vistas: Contemporary American Landscapes, January
1 5-March 11,1 984. Catalogue with text by Janice C.
Oresman. Traveled to Tucson Museum of Art, Arizona,
April 14-June8

The Museum of Art, Fort Lauderdale, New Narrative
Painting: Selections from The Metropolitan Museum of
Art, February 9-26, 1 984. Catalogue with text by
William S. Lieberman

Siegel Contemporary Art at Chicago International Art
Exposition 1984, Recent Works by Affiliated Artists,
May 10-15, 1984 Catalogue

Rahr-West Museum, Manitowoc. Wisconsin, A New
Look at American Landscape, June 1 7-July 15,1 984.
Traveled to Frumkm & Struve Gallery, Chicago,
September 7-October 6; Turman Gallery, Indiana State
University, Terre Haute, October 1 1 -30

Ruth Siegel Ltd., New York, Salvo, September 1 1 -29.
1984

Museo Rufmo Tamayo, Mexico City, Nueva pmtura
narrativa: coleccion del Metropolitan Museum of Art,
Nueva York, November 6, 1984-January 4, 1985.
Catalogue with text by William S. Lieberman

Zilkha Gallery, Wesleyan University, Middletown,
Connecticut, 6 Painters, January 23-March 8, 1985

Usdan Gallery, Bennington College, Vermont,
Crossovers: Artists in Two Mediums, March 12-April 4,
1985

Selected One-Man Exhibitions

Parsons-Dreyfuss Gallery, New York, Hobo Signs.
February 1-19, 1977

Parsons-Dreyfuss Gallery. New York, Pranks of
Nature, March 13-31, 1979
Siegel Contemporary Art, New York, Rex Lau. "The
Wind Demons" and Other Recent Paintings, 1980-
1981, January 20-February 13, 1982

Siegel Contemporary Art at Chicago International Art
Exposition 1983. Rex Lau, May 19-21 . 1983
Catalogue

John Berggruen Gallery, San Francisco, Rex Lau,
Recent Work, July 14-August 13, 1983

Siegel Contemporary Art, New York. Rex Lau—
Paintings, 1981-1983, October 4-22. 1983

Nina Freudenheim Gallery, Buffalo, Rex Lau— Recent
Work, March 23-Apnl 24, 1985

Ruth Siegel Ltd., New York, Rex Lau: Paintings and
Works on Paper, 1983-1985, April 30-May 18, 1985.
Catalogue with text by Stephen Westfall

Selected Bibliography

David Bourdon, "Eroticism Comes in Many Colors,"
The Village Voice, May 10, 1976, p. 128

Jill Dunbar, "The Trend from Thinking to Feeling," The
Wtfager, April 12, 1978, p. 10

William Zimmer, The Soho Weekly News, March 29,
1979

John Russell, "Rex Lau and Roxanne Blanchard," The
New York Times, February 5, 1982, p. C23

Barbara Delatiner. "Art Takes Shape at Albee Barn, "
The New York Times, May 30, 1 982, Long Island edition

Valentin Tatransky, "Group Show," Arts Magazine, vol.
56, May 1982, pp. 27-28

Amei Wallach. "Artworks of Albee's Barn," Newsday,
June 6. 1982, part II, pp. 4-5

Phyllis Braff, "From the Studio," The East Hampton
Star, June 17, 1982, section II, p. 7

Grace Glueck, "The Met Makes Room for the
Twentieth Century," The New York Times, September
18, 1983, section 2, pp. 27. 30

John Russell, "Rex Lau and Maria Scotti," The New
York Times, October 14, 1983, p. C23

Ellen Lee Klein, "Rex Lau," Arts Magazine, vol. 58,
December 1983, p 37

Jean E. Feinberg, "Rex Lau," Arts Magazine, vol. 58,
March 1984, p. 13

Janice C. Oresman, Chemical Bank: An Art Collection
in Perspective, New York, 1984, p. 30

Anthony Bannon, "In Plane Sight," The Buffalo News,
March 22, 1985, p. 5

Anthony Bannon. "Lau Captures Natural Beauty in
Linear Form," The Buffalo News, April 13, 1985, p. A12

41 December Nights. 1 983
Oil on Hydro-stone, 26 x 24"
Collection Chemical Bank, New York

42 The Wind Demons . 1 984
Oil on Hydro-stone, 26 x 24"
Collection Mrs. Joseph Ascher, New York

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43 Cape Fear (second version) . 1 984
Oil on canvas. 72 x 64"
Courtesy Ruth Siegel Ltd., New York

44 Untitled Seascape (Large Pink Wave) . 1 984
Oil on Hydro-stone, 72 x 63"
Collection Laila and Thurston Twigg-Smith

45 Petrified Forest (second version). 1 985
Oil on Hydro-stone, 72 x 63"
Courtesy Ruth Siegel Ltd., New York

46 Leaping Without Looking (third version). 1984
Oil on Hydro-stone, 72 x 63"
Courtesy Ruth Siegel Ltd , New York

47 Deep in the Forest /. 1 985
Oil on Hydro-stone, 26 x 24"
Private Collection

48 Deep in the Forest II. 1 985
Oil on Hydro-stone. 26 x 24"
Courtesy Ruth Siegel Ltd., New York

49 Untitled Landscape. 1 985
Oil on Hydro-stone, 26 x 24"
Courtesy Ruth Siegel Ltd., New York

JOAN NELSON

Statement by the artist

There are human-constructed places which
exist seemingly without habitation by living
things. These insipid monuments to neglect
are, from inception, built for utility and
economy only; hence, any embellishment
becomes superfluous.

The attractive/repulsive quality of these
areas beckons my memory to visit them
again and again. Although I construct these
images from personal recollection, I feel that
they are universal, part of a collective
memory.

Born in Torrance. California, May 28, 1958

Washington University, St. Louis, B.F.A., 1981

Max Beckmann Memorial Scholarship, The Brooklyn
Museum, New York, 1981-82

Lives and works in Brooklyn

Selected Group Exhibitions

D.D.G., St. Louis, Choice, January 1-31, 1980

Nature Morte, New York, August Show, August 1 -31 ,
1982

P-P-O-W, New York, Changing Group Show. July 6-
29, 1984

Saidye Bronfman Centre, Montreal, Easf Village at the
Centre, February 28-Apnl 14, 1985

Vorpal Gallery, San Francisco, May 1 6-June 1 6, 1 985

Grace Borgenicht Gallery, New York, Invitational
Exhibition, May 23-June 21,1 985

Piccadilly Gallery. London, P-P-O-W: Out of Context,
June25-July20, 1985

Jan Baum Gallery, Los Angeles, Minimal
Representation, July 9-August 24, 1985

One-Woman Exhibition

P-P-O-W, New York, January 1 6-February 1 0, 1 985

Selected Bibliography

Nicolas Moufarrege, "Group Show: Nature Morte,"
Arts Magazine, vol. 57, October 1982, p. 19

Vivien Raynor [review], The New York Times, February
8, 1985, p.C32

Gary Indiana, "Invitational Exhibition," The Village
Voice, June 1 1 , 1985. p. 74

50 Untitled. 1984

Egg tempera and plaster on Masonite, 22 x 24"
Collection Sari and Jerry Joseph

51 Untitled. 1984

Egg tempera and plaster on Masonite, 40 x 48' V
Collection Dannheisser Foundation

52 Untitled. 1984

Egg tempera and plaster on Masonite, 36 x 48'A"
Collection Richard Ekstract, New York

53 Untitled. 1984

Egg tempera and plaster on Masonite. 48 x 38"
Courtesy P-P-O-W, New York

54 Untitled. 1985

Pigment and wax on hardboard, 1 8'/4 x 1 6"
Collection Alan Dmsfriend, Boston

55 Untitled. 1985

Pigment and wax on hardboard, 20 x 18"
Private Collection

56 Untitled. 1985

Pigment and wax on hardboard, 16x17"
Private Collection

57 Untitled. 1985

Pigment and wax on hardboard, 16% x 19"
Collection Mr. and Mrs. Raymond D. Nasher

58 Untitled. 1985

Pigment and wax on hardboard, 20 x 1 8"
Collection Caroline and Stephen Adler, New York

JIM PETERS

Statement by the artist

For me painting is running through the
streets of Manhattan trying to reach Mariel
Hemingway before she leaves the country...
or jumping fully clothed into the Seine as
Jules and Jim talk philosophy.. . or dressing
Viridiana in an old wedding dress searching
for what you can not have.

Born in Syracuse, New York, August 3, 1945

Trident Scholarship, United States Naval Academy,
1966-67

United States Naval Academy, Annapolis, Maryland,
B.A. (Nuclear Physics), 1967

Atomic Energy Commission Fellowship, 1967-69

Massachusetts Institute of Technology, Cambridge,
M.S. (Nuclear Engineering), 1969

Teaching Assistant, Mural Painting, College of Art,
Maryland Institute, Baltimore, 1976-77

Instructor, Children's Painting, Maryland Institute
Saturday School for Children, Towson, 1976-77

College of Art, Maryland Institute, Baltimore, M.F.A.
(Painting), 1977

Instructor, Drawing and Painting, Lyman Allyn
Museum, New London, Connecticut, 1977-82

Instructor, Children's Art, Expressive Arts Center,
Norwich, Connecticut, 1 977-82; T.V.C.C.A. (Thames
Valley Council for Community Action), New London,
Connecticut, 1982; Provmcetown High School,
Massachusetts, 1 983; Castle Hill Center for the Arts,
Truro. Massachusetts, 1984

Instructor, Painting, Connecticut College, New
London, Summers 1979, 1981

Instructor, Art Appreciation Art History, Mohegan
Community College, Norwich, Connecticut, 1 981 -82

Hudson D. Walker Fellowship, Fine Arts Work Center,
Provmcetown, Massachusetts, 1982-83; 1983-84

Instructor, Castle Hill Center for the Arts, Truro,
Massachusetts, 1984-85

Chairman, Visual Committee, Fine Arts Work Center,
Provmcetown, Massachusetts, May 1985-present

Lives and works in Provmcetown, Massachusetts

Selected Group Exhibitions

The Arts Tower Gallery, Baltimore, Three Figurative
Painters, October 1 977

School 33, Baltimore, Arts Tower Artists' Reunion, July
15-August14, 1979

College of Art, Maryland Institute, Baltimore, Graduate
School of Painting M.F.A. Show, April 1980

New Gallery, New London, Connecticut. Three New
London Artists, January 1981

Mohegan Community College, Norwich, Connecticut,
March 1982

Marisa del Re Gallery, New York, Ten Fellowship
Artists, January 1983

Slater Museum, Norwich, Connecticut, Drawings of
Seven Connecticut Artists, March 1983

East End Gallery, Provincetown, Massachusetts,
Gallery Artists. May 19-31. 1984

East End Gallery, Provincetown, Massachusetts, New
Figurative Painting, August 24-September 6, 1 984

College of Art, Maryland Institute, Baltimore, The Ten
Year Anniversary Show, January 25-February 22.
1985

Brockton Art Museum, Massachusetts, Southern
Exposure, March 31 -May 1 8, 1 985

Selected One-Man Exhibitions

Cummings Art Center. Connecticut College, New
London, November 1979

Hudson D. Walker Gallery, Fine Arts Work Center,
Provincetown, Massachusetts, April 23-30, 1983;
March 12-19, 1984

Selected Bibliography

John Yau, "Ten Fellowship Artists from the Fine Arts
Work Center in Provincetown," Arts Magazine, vol. 57,
April 1983, pp. 124-125

Margaret Ryan, "Association Hangs Colorful Show. "
The Advocate (Provmcetown, Massachusetts), March
8, 1984, pp. 4-5

"Young Artists at Association," The Advocate
(Provincetown, Massachusetts), May 31, 1984. p. 17

Mark Muro, "A Place to Create at the End of the
World," The Boston Globe. September 23, 1984. pp.
A49-50

E.J. Kahn III. "85 Faces to Watch in "85." Boston
Magazine, vol. 77, January 1985, pp. 1 12-121

59 Decision. 1984

Plastic, metal and oil paint, 8x8x8"
Courtesy CDS Gallery, New York

60 Summer. 1983

Oil on cardboard, sandpaper and plastic,
6% x 9</4 x 2'/2"

Courtesy CDS Gallery, New York

100

61 Against the Grid. 1 983

Oil on photograph, wood and Formica,
20x4iy2x3"

Courtesy CDS Gallery, New York

101

62 Night Cottage. 1984

Oil on canvas, wood, cardboard and glass.
36 x 34 x 2"

Courtesy CDS Gallery, New York

102

63 Doxology. 1 984

Oil on wood, tin, canvas and glass,
78 x 72 x 8"

Courtesy CDS Gallery, New York

103

64 The Gift. 1985

Oil on wood. tin. plexiglass and canvas, 96 x 96 x 8'
Courtesy CDS Gallery, New York

104

65 Untitled (Reclining Figure) . 1 985

Oil on wood, tin, plexiglass and canvas,

68x108x8"

Courtesy CDS Gallery, New York

105

66 The Supplicant. 1 985

Oil and wax on metal, wood, paper and glass.

68 x 70 x 2"

Courtesy CDS Gallery. New York

106

IRENE PIJOAN

Statement by the artist

As a painter I observe, and connect the
within to the without.

Paintings are purposes gone askew; positing
differs from intent. The making is a vehicle
for an interminable dialogue between uttered
and utterer.

My job is to be fluid, with specificity. An at-
tempt at finding balance in vertigo.

Paintings: a bright one born at night, like
plankton; one the sight of an escape, another
of an excavation, another one, mulch. In this
unbandaged march, memory and desire are
of little bearing. Truth is of the moment only.

Born in Lausanne, Switzerland, November 1 1 , 1953

First Prize, California State Annual Exhibition,
Sacramento, 1977

University of California, Davis, B.A., 1978

Scholarship and Purchase Award, Skowhegan School
of Painting and Sculpture, Maine, 1 979

Regents' Graduate Fellowship, University of California,
Davis, 1979-80

University of California, Davis, M.F.A., 1980

Travels in Guatemala and Mexico, 1980

Guest Lecturer, University of Georgia, Athens, 1980-
81, 1981-82; Wake Forest University, Winston-Salem,
North Carolina, 1 981 -82; Roswell Museum and Art
Center, New Mexico, 1982; Humboldt State University,
California, and California College of Arts and Crafts,
Oakland, 1985

Artist in Residence, Ford Foundation Grant, University
of Georgia, Athens, 1980-81

Instructor, Drawing and Independent Projects,
University of Georgia, Cortona, Italy, Summer 1981

Travels in Switzerland and Italy, 1981

NEA/SECCA Southeast VII Fellowship Award.
Winston-Salem, North Carolina, 1981

Artist in Residence, Roswell Museum and Art Center,
New Mexico, 1981-82

Individual Artist Grant, National Endowment for the
Arts, 1982-83

Instructor, Painting and Drawing, and Graduate
Adviser, San Francisco Art Institute, 1 983-present

Travels in Italy and Greece, 1984

Lives and works in Rodeo, California

Selected Group Exhibitions

Basement Gallery, University of California, Davis,
installation with Martha Cain, For Ourselves/What It Is,
May 1-15, 1977

California State Fair Grounds, Sacramento, California
State Annual Exhibition, July 1 0-August 20, 1 977.
Catalogue

Artists' Contemporary Gallery, Sacramento, Group
Sculpture, February 4-March 2, 1978

University of California, Davis, installation with Liz
Jennings, Rocks, January 1 5-25, 1 980

Richmond Art Center. California, March 1 -25, 1 980

The Nelson Gallery, University of California, Davis,
thesis exhibition, June 7-30, 1 980. Traveled to The
Gorman Museum, Davis, California, July 7-30

Lester Gallery, Inverness, California, Gaylen Hansen
and Irene Pi/oan, September 3-30, 1980

The Oakland Museum, California, New Affirmations,
September 16-November 23, 1980

University of Georgia, Athens, Three Artists in
Residence, May 3-27, 1 981

Allan Stone Gallery, New York, Talent, June 2-30, 1981

University of Georgia, Cortona, Italy, Faculty
Exhibition, August 3-12, 1981

Laguna Beach Museum, California, February 2-28,
1 982. Catalogue with text by John Fitzgibbons

Southeastern Center for Contemporary Art, Winston-
Salem, North Carolina, SECCA VII, April 3-May 3,
1982. Catalogue with text by Lee Hansley. Traveled to
Greenville County Museum, North Carolina, July 2-27

Soraban Gallery, Wellfleet, Massachusetts, July 2-27,
1982

Emmanuel Walter Gallery, San Francisco Art Institute,
Works by Faculty, January 19-February 5. 1983

Gille Mansillon Gallery, Santa Monica. Twelve
California Artists, May 8-June 3, 1 984

Wake Forest University, Winston-Salem, North
Carolina, Rockefeller Retrospective, September 7-
November 2, 1 984. Catalogue with text by Victor
Faccinto

108

Sheldon Memorial Art Gallery, University of Nebraska,
Lincoln, San Francisco Bay Area Artists, September 9-
October 29, 1 984, Catalogue with text by George
Neubert

Hearst Art Gallery. St, Mary's College, Moraga,
California, Sculptural Paintings, January 9-February
10, 1985

Selected One-Woman Exhibitions

Acme Gallery, Sacramento, November 5-30, 1977

NCD Gallery, Sacramento, July 1 4-August 7, 1 978

Gallery Paule Anglim, San Francisco, October 6-30,

1981

Eason Gallery, Santa Fe, July 1 -30, 1 982

Roswell Museum and Art Center, New Mexico,
September 12-October 10, 1982. Catalogue with text
by Wesley Russnell

American River College, Sacramento, February 8-
March3, 1983

The Quay Gallery, San Francisco, May 1 -June 2, 1 984

De Saisset Museum, Santa Clara University,
California, Worksfrom 1981-1982, May 3-31, 1984

Ed March, San Francisco Examiner, October 10, 1981

Faith Heller, Wtnston-Salem Journal, April 5, 1982,
p. 22

Wendy Wilson, "Irene Pijoan Ceramic Portraits,"
Artlines, August 1982, p. 37

David Bell, "Santa Fe Notes." Artspace, vol. 6. Fall
1982, p. 62

Christopher French, "Unions of Paint and Form,"
Artweek, vol. 15, May 19, 1984. p. 5

Dorothy Burkhart, "Hot Art for Summer," San Jose
Mercury News, June 1 , 1 984, p. D1

Carol Fowler, "Sculptural Paintings Show Aspects of
Both," Centra Costa Times, January 29, 1 985

"Sculptural Paintings," Westart, January 25, 1985, p. 4

Selected Bibliography

Charles Johnson, "Starting a Cruel Promising," The
Sacramento Bee, June 13, 1976, p. 53

Charles Johnson, "A Continuing Non-Tradition," The
Sacramento Bee, February 20, 1977, p. 57

Charles Johnson, "Local Sculpture," The Sacramento
Bee, February 17, 1978, p. 62

Victoria Dalkey, The Sacramento Bee, July 25, 1978

Pat Osfeld and Jams Heple, Suttertown News, July 20,
1978, p. 6

Victoria Dalkey, The Sacramento Bee, May 1979

Christopher French, "Richmond Art Center
Acknowledges U.C.D.," The California Aggie, March 4,
1980, p. 4

Del McColm, "Strong Grad Show," Daws Enterprise,
June 13, 1980, p. 6

Andy Brumer, "Four Affirmations." Artweek, vol. 1 1 ,
October 1980, p. 12

Charles Shere, Oakland Tribune, October 12, 1980

109

67 House Guest. 1 982

Encaustic, plaster, oil on stone,
10x10x7"

Collection Roswell Museum and Art Center,
New Mexico

110

68 Nameofa Town. 1982

Encaustic, relief and oil on stone,
9x10x5"

Collection Manuel and Kate Nen, Benicia,
California

111

69 Mesopotamia 1984

Plaster, wax and polystyrene on wood.
8x 16x2'/2"

Collection M Etcheverry. San Francisco

70 Streams. 1984

Plaster, wax and polystyrene on wood.

20 x 26 '/2"

Collection Robert Arneson and Sandra

Shannonhouse

112

71 Glacier. 1984

Plaster, encaustic and pigment on wood,
56 x 1 07'/2 x 3"

Collection of the artist; courtesy Rena Bransten
Quay Gallery, San Francisco

113

72 Ransom Earth. 1985

Plaster, encaustic and pigment on wood,

66x88'/8x4"

Collection of the artist; courtesy Rena Bransten

Quay Gallery, San Francisco

114

73 Church and State . 1 985

Pastel on distemper on wood, 68 x 85"
Collection Stephen and Anne Walrod, Berkeley

115

74 The Cities on the Ceiling. 1 985

Pastel, oil and distemper on wood.

66% x 89 x 2Va"

Collection of the artist, courtesy Rena Bransten

Quay Gallery. San Francisco

116

75 The Counsel. 1 985

Plaster, encaustic, oil and pastel on wood,
78 x 79 x 4'/2"

Collection of the artist; courtesy Rena Bransten
Quay Gallery, San Francisco

117

118

PHOTOGRAPHIC CREDITS

Color

Larry Berkow: cat. no. 29

Rameshwar Das: cat. no. 46

D. James Dee: cat. no. 27

AN Elai: cat. nos. 60, 64, 65

M. Lee Fatherree: cat. nos. 71, 74, 75

David Heald and Myles Aronowitz: cat. nos. 10, 14, 28

Mark Kloth: cat. no. 33

Joe Maloney: cat. no. 31

Robert Reck: cat. no. 67

Adam Reich: cat. nos. 50, 55, 56

Earl Ripling: cat. nos. 39, 42, 45, 47, 48

Norman Sherfield: cat. nos. 34, 36, 38

Sarah Wells: cat. nos. 2, 7, 8, 18, 19, 22-24

Sarah Wells; courtesy of The Pennsylvania Academy

of the Fine Arts: cat. no. 6

Black and White

Gregory Benson: cat. nos. 3, 9

Larry Berkow: cat. nos. 26, 30

Rameshwar Das: cat. nos 43, 49

D. James Dee: cat. nos. 17, 25, 35

Ali Elai: cat. nos. 59, 61-63

M. Lee Fatherree: cat. nos. 68-70, 72, 73

Anthony-Peter Gorny: cat. no. 13

David Heald and Myles Aronowitz: cat. nos. 11, 12, 15

Ariel Jones: cat. no. 66

The Metropolitan Museum of Art, New York: cat. no. 16

Janet Neuhauser: cat. no. 32

Adam Reich: cat. nos. 51-54, 57, 58

Earl Ripling: cat. nos. 40, 41 , 44

Norman Sherfield: cat. no. 37

Sarah Wells: cat. nos. 1 , 4, 5, 20, 21

119

Exhibition 85/7

4,000 copies of this catalogue, designed by
Malcolm Grear Designers and typeset by
Schooley Graphics /Harlan Typographic, have
been printed by Eastern Press in September
1985 for the Trustees of The Solomon R.
Guggenheim Foundation on the occasion
of the exhibition New Horizons in American
Art: 1985 Exxon National Exhibition.

Solomon R Guggenheim Museum Library

210

120

N6512 .D38 1985

New horizons in American art

Dennison, Lisa.

011210

NSS12 .D38 1985

New horizons in American art

Dennison, Lisa

011210

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